FOR YOUR CO N S I D E R AT I O N

BEST ORIGINAL SCREENPLAY

John Carney
 SING STREET

"This is school"

Written by John Carney

Card over Black:

The 60s never really happened in

Ireland. So the 80s will be the
60s. And the 80s will make the
60s look like the 50s.

AN ALCOHOLIC.

Pre-title:

EXT. SYNGE STREET SCHOOL - DUBLIN CITY - MORNING

Two FIFTEEN year-old BOYS stand outside this rough, inner

city school on a cold, rainy morning. They are CONOR and
DARREN. Conor is a middle class kid with a posh accent.
Darren is a local boy, with a tough Dublin accent.

They are elbowed by passing STUDENTS entering the school

gates. Some of them mince past them, implying that they are
gay.

These two are outsiders.

Conor will be handsome when he grows up. While most of the

other boys have standard issue tight haircuts, Conors is
long and tousled.He sports two black eyes, making him look
like a panda. Darren has acne, buck teeth, braces and
bifocals. His face is a mess.

They are both looking across the road. We dont see at what.

CONOR
Whos she?

DARREN
I dont know. Shes always there.

CONOR
Shes beautiful.

DARREN
Yeah. Good luck. She doesnt speak
to anyone. Stuck-up cow.

CONOR
Who says?

DARREN
Ciaran Mackie from third year said
he tried to get her digits.

CONOR
(confused)
You mean her number?

(CONTINUED)
 2.

DARREN
Yeah. No luck. He said she has a
boyfriend whos a drug dealer.
Shes not interested any of the
boys in the school.

CONOR
Oh yeah? Whys she standing there
then?

Darren shrugs. Conor takes a breath, sets off, crossing the

road.

EXT. SYNGE STREET SCHOOL - MORNING

We track with him over his shoulder, arriving at a 16 year-

old GIRL, who is standing on the stoop of a HOUSE, an unlit
cigarette dangling from her purple lips. Conor stands in
front of her.

She has a great look: lots of black. Good makeup. Back-combed

hair. Early 80s teen-chic. Shes ahead of her time, and
anything but ordinary.

CONOR
Need a light?

GIRL
No. Im trying to give up.

CONOR
Cool. I dont have any matches
anyway.

Silence. He doesnt go away.

CONOR
Why arent you at school?

GIRL
I dont go to school.
(beat)
Im a model.

CONOR
Cool. Like, for magazines, and
stuff?

GIRL
Im going to London soon. Just
waiting for my portfolio shots.
Theres no real work for models in
Dublin, you know.

CONOR
Yeah. I know.

(CONTINUED)
 3.

He thinks.

CONOR
Oh yeah, I meant to ask- do you
want to be in a video? For my band?

GIRL
Youre in a band?

CONOR
Yes. And we need a girl for it.
Theres like a story. Its called a
Story-Board video. You could be
the girl. In the story. If youre
free. Have you been in a video
before?

GIRL
No.
(beat)
Is that a problem?

CONOR
I hope not. Ill ask the producer.

GIRL
Whos the producer?

CONOR
That kid behind me.

She looks over his shoulder, pulling onto Darren, who waves
nonchalantly.

GIRL
When are we shooting? Im pretty
busy.

CONOR
Saturday after next. I can call you
with the details. If I had your
digits.

She puts the cigarette away, taking out her pen. He produces
his journal, handing it to her. She flicks through it, its
full of thoughts and drawings.

CONOR
Lyrics.

RAPHINA
So if youre in a band, sing me a
song.

CONOR
Im not singing here.

(CONTINUED)
 4.

RAPHINA
What, youll have to sing in front
of thousands of people. Im just
one. Sing.

CONOR
What?

RAPHINA
Sing anything off the radio.

He reluctantly sings a hesitant but tuneful few lines from a

popular song. She smiles. She writes down her number on the
cover. He smiles, turning back. Score.

INT. SYNGE STREET SCHOOL - MORNING

We track back with him across the street as he approaches

Darren, who cant believe what hes seen.

CONOR
We need to form a band...

Freeze Frame. A loud, energetic punk song crashes in on the

track.

SONG and titles run over:

TITLE SEQUENCE - MONTAGE

A montage of news stories, rock videos, magazine covers,

headlines. It's the early eighties, and it's Ireland. Midway
through the worst recession since the 1950s.

TITLE SEQUENCE - MONTAGE

Across the Irish sea, in London, news reports see Thatcher

waving to the crowds. City boys talk into early mobile
telephones, getting into sports cars. Armani suits, and gold
cuff links.

TITLE SEQUENCE - MONTAGE

But back in Ireland: bombs in the North, petrol queues in the

South.Deserted building sites, bricked-up buildings. More
black and white, than Londons Technicolor.

INT. CONORS KITCHEN - DAY

We start to PULL OUT from an old TV set. The 9 oclock news

is on. The volume turned down low.
 5.

INT. CONORS KITCHEN (CONTINUOUS) - DAY

We find ourselves in a large kitchen. High ceilings and

rattling sash windows, in what 100 years ago was a fine
Georgian home. Now, things are a little faded. The room is
cold and unwelcoming. Very little on the shelves. A family on
a budget.

Sitting around the kitchen table are: Conor (no black eyes
yet), and his parents, PENNY and ROBERT, both in their mid
forties. Theyve just finished a meal of Spag Boll. Though
its more Spag than Boll. Penny fills up her glass of cheap
supermarket wine. Robert picks his teeth with a toothpick.
He is drinking a whiskey and smoking. Penny checks her watch.
They are sitting in silence, as if waiting for something to
happen. Conor is wearing a woolly hat, and his coat, indoors.

Card:

ONE MONTH EARLIER

INT. CONORS KITCHEN (CONTINUOUS) - DAY

Finally, the sound of someone racing down the stairs from

above. The door opens and BRENDAN, (20), tumbles into the
room carrying an ash tray, glass of wine, tobacco pouch,
rolling papers and matches. He sits down at the vacant seat,
beside his brother. Brendan has long hair, and a moustache.
Hes handsome.

BRENDAN
This meeting has been called to
order. Pray proceed.

He lights a cigarette.

ROBERT
Okay, so we wanted to talk about
finances. Penny?

PENNY
What? Go ahead.

BRENDAN
(to his brother)
This is going to be heavy.

ROBERT
Well, as you might have noticed-
your mother and I are really
struggling at the moment, like the
rest of the country. I havent had
a single commission this year. Your
mother is on a three day week. It
doesnt look like its going to get
much brighter.

(CONTINUED)
 6.

He knocks back his drink. The kids wait for whats coming
next.

PENNY
So weve had a look through the
accounts, and we see quite a
significant saving if we were to
alter the education situation.

CONOR
What education situation?

BRENDAN
(intuiting)
He means your school. Theyre
taking you out of school.

CONOR
(excited)
What?!

ROBERT
Were not taking you out of school.
Were transferring you from one
school to another.

CONOR
Why!?

ROBERT
We have to make some cuts to the
budget. Id suggest taking your
brother out of college, but hes
already dropped out of his own
volition.

BRENDAN
(raising a glass)
Thank you Dad.

CONOR
Cuts? Im already wearing three
jumpers, indoors. And a hat. I read
by candlelight! And its the 1980s.
Im like Tiny Tim up there!

Brendan laughs.

ROBERT
Dont act so entitled. I grew up in
a council house with five brothers.

BRENDAN
(mock surprised)
Really? Tell us about that dad. For
the first time ever.

(CONTINUED)
 7.

PENNY
A school thats close by. So
theres no transport costs. You can
cycle in. And you can get lunch
back here. Theres two savings
already! Its a non-fee paying
school.

ROBERT
Those Jesuits are far too soft on
you anyway.

BRENDAN
The Jesuits have a long history of
education.

ROBERT
So do the Christian Brothers.

Silence.

CONOR
Who are the Christian Brothers?

BRENDAN
The Christian Brothers, Conor, are
a order of the Catholic Church,
appointed in the education,
formation, and beating of their
young charges.

ROBERT
Oh be quiet Brendan! Six years at
the hands of the Jesuits yourself,
and look at what they did for you!

BRENDAN
Well they didnt beat me.

PENNY
Brendan! Cut that out. Synge Street
is a perfectly reputable school.
Youll settle in in no time.

CONOR
You cant just change in the middle
of the year. Just when Im making
friends and settling in. This could
scar me. Long-term!

ROBERT
Just deal with this, Conor. You
know what the Christian Brothers
motto is? Viriliter Age. That
means Act Manly.

This meeting is over.

(CONTINUED)
 8.

Brendan gets up. He squeezes Conors shoulder, big brother

style, and exits. His parents go about their business. We
push in on Conor, alone.

EXT. CONORS HOUSE (CONTINUOUS) - DAY

The door slams as Conor exits his house, zipping up his

jacket. He marches down the driveway. He wears brown cords
with a slight flare to them. Leather shoes. Jumper.

This is a leafy suburb of Dublin. Middle class, safe,

protected. But Conors house stands out. It has seen better
days. It needs a new coat of paint, and the garden could do
with a mow. A car is parked in the driveway, but hasnt been
used in a good while. Three push bikes are leaning against
the gate instead.

He walks up the street with his hands in his pockets.

EXT. JESUIT SCHOOL SPORTS GROUND - DAY

This is a large sports ground in a leafy Jesuit school. Nice,

red brick buildings, very peaceful. Its the weekend, and
students are practicing track, rugby, cricket. A big copper
beech tree shades the Cricket Training net.

Conor is at the wicket, bat in hand. Two FRIENDS are playing

with him. They all speak with posh, South-side accents.

CONOR
So guys, Im not coming back after
the break.

FRIEND 1
The hell? Why?

CONOR
The old pair are moving me to a
different school.

FRIEND 2
Dicks. Why?

CONOR
They say they have no money.

The ball whizzes past him. He misses by a mile, throwing down

the bat in frustration. They take a break.

CONOR
But we still hang out, yeah?

FRIEND 2
Totally man.
(CONTINUED)
 9.

CONOR
At weekends and stuff. Right?

FRIEND 1
Absolutely. So where are you going?
Conlets?

Conor doesnt respond.

FRIEND 2
Gonzaga?

CONOR
Synge Street.

His friends exchange looks after they see hes not joking.

CONOR
What?? It cant be that bad?

One of them mock-hugs him.

FRIEND 2
Seriously bro, its been nice
knowing you.

His friends laugh. We hold on Conor, the gravity of his

situation sinking in.

INT. JESUIT SCHOOL OFFICE - MOMENTS LATER

Conor is sitting in a cosy, large office. Across from him,

his history teacher, and headmaster, FATHER WAITS (late 50s).
Fr. Waits smokes a pipe, sitting on the edge of his desk. He
is prematurely grey, and has a warm, understanding
appearance. His SECRETARY, a heavy woman in her fifties, sits
in an anteroom, typing, off.

FATHER WAITS
Well be sorry to be losing you.
Synge Street was a fine school in
its day. It has a poor reputation
now, but Im sure thats
exaggerated. The Christian Brothers
can be a little tough to my mind,
but they get the work done.

CONOR
No more rugby. No cricket practice.
Debating. School plays??

FATHER WAITS
Theyll have their own
extracurricular activities I
suspect.

(CONTINUED)
 10.

CONOR
Yeah, like flick knife practice.
And corporal punishment.

FATHER WAITS
Im sure thats not true.

CONOR
Ive heard it is. I cant do
corporal punishment. Im light-
boned.

Father Waits laughs. Though Conor is wise-cracking, hes

clearly genuinely nervous.

Father Waits gets up, putting a hand on Conors shoulder and

walking him to the door.

FATHER WAITS
Youll be fine, Conor. Trust me.
You know whats gotten us to where
we are today, us humans? One
quality?

They pause at the open door.

FATHER WAITS
Adaptability.

He winks, shaking Conors hand. Conor shuffles off down the

corridor.

Father Waits looks over to his secretary who has been

listening. He makes a doubtful expression. She nods in
agreement.

INT. CHURCH - DAY

A church on a school campus. 30 choir boys are at choir

practice on the alter. They are dressed in their own cloths.
There is no congregation. Its Saturday rehersal. They sing
BACH.

We slowly ZOOM in to Conor, who is standing on the edges of

the back row. He sings, but is lost in thought.

A TEACHER is conducting them.

EXT. SYNGE STREET SCHOOL - EVENING

Conor walks past Synge Street School that evening. The gates
are open. The deserted school looms grey and forboding in the
dusk sky. He pushes the gate open and enters, looking around.
Litter rolls like tumbleweed across the pot-holed yard.
Stripped-down bicycle frames remain locked to the outdoor
bike shed. Old windows rattle in the wind.
(CONTINUED)
 11.

The walls read like a tabloid newspaper: IRA BRITS OUT

JENNY GREEN IS A SLUT are among the headlines.

The playing field of his previous school is another world.

INT. BRENDANS ROOM - EVENING

Back in his house, we are in Brendans attic lair. As far

away from the rest of the house as possible. This small room
is a shrine to music and art. And hash.

We have numerous ash trays. A homemade hammock. Posters of

bands on the walls. Shelves of books on pop art, philosophy,
and music. A poster of SIGMUND FREUD on the wall next to his
bed. A voice bubble has been drawn in, saying Its all your
mothers fault.

A portable TV on a box. An acoustic guitar with two strings.

But most importantly, a huge collection of Vinyl. Proudly
alphabetized. The only thing so in Brendans life.

The windows are blacked out with hanging blankets, and the
lighting is low; easy on the eternally stoned eye.

Brendan sits in his huge, collapsed armchair in a mist of

marijuana smoke, a king of his own domain. He is taking a
drag from one. The door is ajar.

Outside, Conor knocks.

CONOR
You in there?

BRENDAN
Where else would I be?

CONOR
I dont know. The kitchen?

BRENDAN
Im in here.

Conor enters, leaning against the wall by the door.

BRENDAN
(sage-like)
You appear troubled, my young
friend.

Conor nods his head.

BRENDAN
Sit. Share your woes.

Conor sits on the edge of his brothers bed.

(CONTINUED)
 12.

BRENDAN
You start tomorrow?

Conor nods his head.

BRENDAN
Youll be fine. You just have to
find a way of distracting the thugs
from noticing you.

CONOR
How do I do that?

BRENDAN
How would I know?

CONOR
I feel like Im going to prison.

BRENDAN
You are. In a way. All institutions
are prisons. You do realize that
this is just part of the bigger
picture? This school move?

CONOR
How do you mean?

BRENDAN
Im pretty sure theyre splitting
up. I hear them rowing, in the
middle of the night.

CONOR
Do you? Why arent you asleep?

Brendan just laughs at this, as if sleep would be ridiculous.

BRENDAN
Therell be plenty of time for
that.

He takes another drag, and then instinctively goes to pass it

to Conor. But then realizes, pulling it back.

BRENDAN
Oh, no, youre tiny.

He stands up, taking the record that has been playing

quietly. Replaces it carefully, and searches for something
else.

BRENDAN
...and this is just the start of a
process. They start moving you
around. Soon the electricity will
be cut off. The bailiff will come.
The house will be sold.
(MORE)
(CONTINUED)
 13.

The cave is under threat, brother.

From monsters.

Conor is genuinely concerned.

CONOR
What monsters?

Brendan finds a record that is pertinent, opening it, and

carefully rubbing his sleeve off the vinyl.

BRENDAN
Oh, just the three-headed monster
of Fear, Infidelity, Ego,
Materialism.

CONOR
Thats a four-headed monster.

BRENDAN
The things that are destroying
their marriage. And now YOURE
being tested. This is YOUR time. I
had my time.

CONOR
And what happened?

BRENDAN
(beat, a thousand thoughts
in a blink of an eye)
This is a great chance for you. To
break that cycle of shit. That
school would have turned you into a
doctor, or a lawyer. Must make
money, must make money.

Conor listens attentively, if a little confused.

BRENDAN
(off his look of
confusion)
That was a robot I just did there.
Who wants to be a robot? Except
R2D2? Who knows what this new
prison will do for you, my little
friend!
(beat)
Youre on a heros journey. How are
you going to fare?

He puts on the record hes been looking for. The needle meets
the vinyl with a comforting crunch. A loud, heavy metal song
from the late seventies.

The room rocks. Brendan smiles at his younger brother, you

feeling me??

(CONTINUED)
 14.

Hard cut.

EXT. SYNGE STREET SCHOOL - MORNING

Song playing loud.

Monday morning. Almost in answer to his brothers question,

Conor walks into the gate of the school. Numerous kids have
gathered in packs. Conor has to walk a gauntlet of new faces.
Heads turn towards the newcomer. There is something of a
stranger arriving at a new town in a Western. But this is no
Western, and the stomping song tells us so. Conors three-
quarter length smart coat and long curly hair draws laughs.
He is also carrying a soft, brown leather satchel, which
doesnt help.

Kids smoke in circles. Kids spit on the ground.

Further into the walk, a fight is just breaking out, and a

small circle is gathering. Two boys beat it out. Bloody noses
and fists. Conor speeds up as he passes. He notices that
above them, at a second story window, a BROTHER (50s), in
black suit and white collar, is watching the fight down
below. He does nothing about it.

One KID has a dead RAT skewered on the end of a stick. He

chases other kids around with it. He finally throws it at
Conor. It hits him on the side of the head. Others laugh.

The song ends as he enters the school. The back of his coat
is covered in spit.

INT. CLASSROOM - DAY

Conor sits in a large, drafty classroom, looking around. The

windows rattle in the wind. Worn, wooden floorboards
underfoot. The desks are mismatched. Two kids per desk. This
is a class of about 35 kids.

BROTHER BARNABAS (70), in a black gown and white collar,

writes Latin on the blackboard.

Even with his hearing aid, he cant hear kids chatting,

laughing and fighting when his back is turned.

Conor sits in the middle, amazed. To his left, at the back of

class, a boy smokes a cigarette, blowing the smoke out the
sash window beside him.

To his right, two BOYS hold down another, as a fourth farts

in his mouth, closing it, and making him swallow.

Another kid is getting an Indian ink tattoo: IRA, on his

hand.

(CONTINUED)
 15.

At the blackboard, Brother Barnabas takes a surreptitious

swig from a hip flask, returning it under his gown. This old
guy should have been put out to pasture a long time ago.

The door swings open, and the HEADMASTER enters silently, on

his morning rounds. The class stands up. Silence. He is the
same Brother we saw watching the fight on the way in.

CLASS
(as one)
Good morning Brother Baxter.

Brother Baxter surveys the room, landing on the blackboard.

BROTHER BAXTER
Its French, brother Barnabas.

BROTHER BARNABAS
Hah?

BROTHER BAXTER
Youre teaching French. Not Latin.

Brother Barnabas looks at the board, seeing that he is

teaching Latin.

BROTHER BARNABAS
Oh. How modern.

Brother Baxter speaks in a tough, no nonsense Dublin accent.

His bushy moustache suggests something of a military man.

BROTHER BAXTER
Mind you, Id be surprised if any
of ye even knew where France is,
not to mind speaking the language.

Silence. Conor, who thinks this is an actual question,

raises a hand.

BROTHER BAXTER
Oh. Go on.

CONOR
On the continent. Above Spain.

BROTHER BAXTER
My my. And how do you know that?

CONOR
My parents took us there. One
summer. In the car.

Other kids laugh, jealously.

BROTHER BAXTER
Youll be the new lad then, from
the Jesuits.
(CONTINUED)
 16.

CONOR
Yes.

BROTHER BAXTER
Yes Brother. Whats your name.

CONOR
Conor Lawlor.

Laughter. Conor looks around, all eyes on him. Brother Baxter

is impressed.

BROTHER BAXTER
Shut up! You could all take a leaf
out of his book. Look at a map once
in a while. Right Conor. Morning
prayers are at a quarter to nine.
Little break is ten minutes. At 11
o'clock. Big break is 45 minutes at
1 oclock. The canteen is located
below the P.E. Hall. They serve
chips and bars. The lads will show
you the ropes. Welcome.

CONOR
Thank you.

BROTHER BAXTER
As you were!

He turns to go. But as he does, he sees Conors feet under

his desk. He pauses. Conor is wearing brown leather brogues.
Everyone else is wearing black shoes.

BROTHER BAXTER
We have a strict, black shoe policy
here, Mr. Lawlor. Your parents
should have read it in the
introductory rule book. Page 142.
Well let it go today, but from
tomorrow on...

He goes to exit again.

CONOR
I dont have black shoes, Sir.

Brother Baxter pauses at the door. The class goes silent. BB

is not used to being questioned like this.

BROTHER BAXTER
Well, youll have to get a pair
then. And report to me first thing
in the morning with them. Good man.

Brother Baxter exits. The class takes a sigh of relief. The

kid who was smoking releases a lung-full of smoke. Brother
Barnabas goes back to teaching Latin.
(CONTINUED)
 17.

Conor leans into the BOY sitting next to him, MICK MAHON, a
really tough kid with a buzz cut and a gold stud earring.

CONOR
Sorry, but where did he say the
restaurant was?

MICK MAHON
The wha?

CONOR
The restaurant? The cafeteria?

MICK MAHON
You mean the canteen?

CONOR
Yeah. Of course.

Mick just shakes his head in amazement.

MICK MAHON
The restaurant. Youre not in
France now, you bleedin spanner.

EXT. SYNGE STREET YARD - DAY

Little break.

Kids play football with a punctured football. Others sit on

walls eating sweets. Conor wanders about on his own looking
for the canteen. He passes by the alleyway towards the P.E.
hall. From behind the bike sheds, a low whistle catches his
attention.

Down the alley way is a 15 year-old. He has a cigarette in

his hand. He has a skin head. His uniform is dirty and too
short for him. He wears scuffed loafers and a green bomber
jacket.

KID
Do you smoke, do you?

CONOR
Oh. Occasionally. Im not really a
smoker. My brother is, and I
sometimes take a little of his
tobacco, if my friends are over.
And my dad used to smoke a pipe.
But he gave up.

KID
Why are you telling me all this?
Come on and well have a smoke.
Follow me.
(CONTINUED)
 18.

Conor follows the kid, who enters a prefab marked TOILETS.

INT. THE BOYS TOILETS (CONTINUOUS) - DAY

This is a stinking prefabricated building, with a row of

urinals across from three cubicles. The floor is sticky and
wet. Conor follows the KID in.

He puts a cigarette in his mouth.

KID
Dyou want one?

CONOR
Nah, Im okay. Ill just watch you.
Ive already had a couple this
morning.

The kid pulls a Black Widow catapult from inside his bomber
jacket, and a large marble.

KID
Did you ever see one these, did
you?

He loads it with the marble, and points it at Conors head.

KID
I hear youre a queer.

CONOR
What?

KID
I hear youre a little queer?

CONOR
No. You must have me mixed up with
someone else.

KID
(scrutinizing him)
I dont think so. Dance.

CONOR
What?

KID
Dance. Like a queer.

Conor doesnt know how to deal with this.

CONOR
Are you serious?

The kid aims the catapult at a light bulb, and fires, hitting
it perfectly, re-loading and pointing it back at Conor.
(CONTINUED)
 19.

Conor starts a merry jig. The KID watches for a while, his
catapult ready.

KID
Now dance with your pants down.

CONOR
What?

KID
Get into that cubicle. And dance
with your pants down.

Conor stops dancing.

CONOR
No.

KID
What did you just say.

CONOR
No, Im not doing that.

Silence. To his surprise, the kid disarms his catapult.

KID
Okay. Bye Bye.

Conor walks past him, exiting hurriedly, baffled.

INT. THE CANTEEN (CONTINUOUS) - DAY

Conor is in a basement building. No windows. Its lit with

fluorescent lights. Kids of all ages muck about. Theres a
ping pong table with no net or bats. Theres a tuck shop with
candy bars and a dinner lady deep frying chips at a window.
Music plays through a small ghetto blaster. Many kids are
smoking.

Conor heads for the tuck shop window, joining a rowdy queue
while searching for enough change in his pockets.

He manages to get 25 pence together and exchanges it for a

Mars bar. As he turns to exit, the KID from the toilet is
standing right behind him. He taps him on the shoulder. Conor
turns around.

People watch on, knowing that something is brewing.

The KID lets Conor have it, right on the eye. Its a good
shot. People wince. Conor goes down on the ground.

The KID picks up Conors Mars Bar and rips it open; takes a
bite and throws away the rest. He turns and swaggers off.
People clear the way from him, keeping their distance.

(CONTINUED)
 20.

The bell rings and everyone starts to shuffle off back to

class, some of them step over Conor, laughing.

As the room empties out, we hear a voice, off:

VOICE
You shouldve just danced.

Conor looks over his shoulder. DARREN (who we met in the pre-
title scene) is crossing over towards him, putting on his
jacket.

EXT. SYNGE STREET YARD (CONTINUOUS) - DAY

Conor, now in the company of Darren, walks back towards his

classroom, holding his eye.

CONOR
So you were there? In the toilets?

DARREN
Ive a touch of the scutters. So I
was in one of the cubicles all
morning with the liquid shits.

He smiles.

DARREN
Darrens the name.

He goes to shake hands. Conor take his hand, hiding his

reluctance.

CONOR
Conor. Who is that psycho?

DARREN
Thats Barry Bray. He eats hair
gel.

CONOR
What?

DARREN
Yeah. He ate a pot of hair gel in
class once. No one knows why.
The only problem now is, hell be
out for your blood.

CONOR
Why?

DARREN
Because youve shown weakness.

CONOR
How do you know him?
(CONTINUED)
 21.

We hold on Conor, looking increasingly worried. Synge Street

is certainly living up to its reputation.

DARREN
He lives in the same flats as me.
His ma and da are mad drug addicts.
People say he was conceived on
acid. And it got into his
bloodstream. But dont worry, you
just need to come up with a plan
for the year. A solution. Here.

He hands him a slip of paper from a plastic wallet. It reads,

in marker:

Darren Mulvey. Business solutions.

Saint Teresas Gardens. Flat 221.
Your problem is my solution!

DARREN
Call me any time.

CONOR
Theres no number on it.

DARREN
No, we dont have a phone. Just
call around.

They arrive outside Conors class.

CONOR
This is my class. Where are you?

DARREN
Ah they kept me back a year. Or
two. I cant really read very well.

CONOR
Right. Hows that going to work, in
business?

DARREN
(leaning in)
I can read people. And youre
alright. But you wont survive in
here unless we deal with Barry.

CONOR
What about telling the Brothers?

DARREN
Hah! You could do that, yeah.

Darren heads off, laughing.

(CONTINUED)
 22.

Conor heads back into class. The door slams behind him with a
menacing SLAM

INT. CONORS HOUSE - NIGHT

Penny stands in the hallway, shouting upstairs.

PENNY
Bren! Conor! Its on.

Brendan exits his room quickly. He is carrying his drinking

and smoking accoutrements. He passes Conors door as Conor
exits. The two of them run downstairs. Its like a fire
drill.

INT. THE SITTING ROOM (CONTINUOUS) - NIGHT

Brendan and Conor burst into the sitting room. Their father
is sitting at the table drinking a whiskey. The collar of his
jacket is turned up, and he has a scarf on. In front of him,
a few architectural drawings, draftsman kit, sliding rule
etc. He is sketching plans for a building that will never be
built.

Numerous photographs of Brendan are framed and around the

place. As a baby. A young boy. A handsome teenager. Etc.
Brendan was the golden boy.

Brendan turns on the TV as he and Conor take seats on the

couch.

BRENDAN
Can we turn on the fire?

ROBERT
No.

TV PRESENTER
(off)
Its Thursday. Its 7 oclock. Its
Top of The Pops!

Penny enters, sitting across from her husband, drinking a

coffee. She is wearing a big cardigan.

As the charts countdown for January starts, they are a

family. Sort of.

VOICE ON TV
They cant be here tonight as
theyre in the USA, so instead, we
have to go to... RIO. Its Duran
Duran!

(CONTINUED)
 23.

On the TV, the video for Duran Durans Rio begins. Conor is
glued to the screen as Brendan lectures on the clothes,
video, song, and lyrics. Conor is an enthusiastic student.

BRENDAN
The jury is out on which way these
guys will go. Theyre a lot of fun,
and John Taylor is one of the most
proficient bass players in the UK
right now, giving them a funky edge
which I hope theyll go with. Look
at this video!

He laughs with glee as beautiful people aboard a yacht in the

Caribbean surround Simon LeBon. The band looks good. The
girls are clad in bikinis.

At the table, Robert looks back at his sketch. He scrunches

up the sheets of paper angrily. Frustrated. Penny watches
this.

ROBERT
Who am I kidding. Nothings getting
built here for another ten years at
least.

PENNY
You dont know that.

He laughs, pouring a whiskey, and turning towards the TV.

ROBERT
Not exactly the Beatles, is it.

BRENDAN
Oh, Ill just start up the time
machine so we can go BACK in time
for dad.

He sighs. Underwater, Simon LeBon drinks a pink cocktail

underwater. The pink liquid mixes with the sea. Brendan
laughs.

ROBERT
Well if thats the future were all
screwed. Look at him, hes not even
singing live!

BRENDAN
Its a video, Robert. Its a piece
of art. Everyone is making them
now.

CONOR
Yeah Robert.

(CONTINUED)
 24.

PENNY
(referring to Simon)
Hes very attractive isnt he?

ROBERT
Youre welcome to him.

PENNY
Do you promise?

On screen, a guy in the video plays a saxophone solo on a

raft.

CONOR
Wow, a saxophone solo.

BRENDAN
That might date.

ROBERT
Why cant they get them to play
live? What are they hiding?

BRENDAN
Because theyre in the USA, didnt
you hear him? And this lasts
forever. Its the perfect marriage
of music and visuals. Short. To the
point. Look at that...

He points to the screen. Hedonism and fun, in Technicolor.

BRENDAN
What tyranny could stand up to
that?

Conor looks at the screen, transfixed. His brother has a

point. Sort of.

ROBERT
Thats because this is the tyranny.

BRENDAN
Oh lets not begin a philosophical
argument Robert.

ROBERT
Why not?

BRENDAN
Because youll lose.

This winds Robert up, who is up for a fight, but a stern

shake of Pennys head warns him off.

(CONTINUED)
 25.

BRENDAN
(quietly)
...and the thing about Barry Bray
is, hes probably a victim himself.
Bullying is a cycle. Like with Dad.
His dad undermined him, pissed on
his dreams. So what do you expect.

CONOR
Right.

BRENDAN
So we gotta break the cycle. Right?
Look at these guys-
(referring to the band)
Their dads fought in the Second
World War! Wore flat caps and
woolen underwear. Look at them now!

On screen, Duran Duran are the epitome of 80s London:

affluence, arrogance, and renewed confidence.

BRENDAN
Barry Bray is more than likely
gay. And hes struggling with it.
And holding you up in the toilets
is all part of that.

CONOR
Really?

BRENDAN
Probably. Its not a good school to
be gay in, hes suffering in there,
same as you. But the only way to
get him off your back is to
understand him. To defeat him, you
must firstly forgive him.

He nods, sagely, returning to watching the TV. We hold on

Conor thinking about this advice.

EXT. SYNGE STREET SCHOOL GATE - DAY

Conor walks into school. He is keeping a low profile, walking

in by the wall as the madness carries on all around him.

Up ahead, he runs into Brother Baxter. He looks him up and

down. We TILT down to reveal... BROWN SHOES.

Hold on Brother Baxters face. An inscrutable look. Deep

shock that his warning would be ignored.
 26.

INT. BROTHER BAXTERS OFFICE - MOMENTS LATER

Brother Baxter sits behind his large desk in his office. Very
little in this room, except a statue of the Virgin Mary, and
a cross. On the other side of the desk, Conor.

Silence.

BROTHER BAXTER
Whats going on, son?

CONOR
About the shoes?

Brother Baxter just nods.

CONOR
Well, I brought it up with my mum.
But she said we couldnt afford
another pair of shoes at the
moment. I bought these before I
knew about the shoe colour policy
here at Synge Street. But its not
as if these are runners or
something. Theyre brown. Theyre
quite sensible.

BROTHER BAXTER
I can see that. Theyre very nice.
Tasteful, as you say. But you see,
theyre not black?

CONOR
Im not sure... What you want me to
do. Theyre shoes. They keep the
rain out.

BROTHER BAXTER
(nodding his head)
Take them off.

CONOR
What?

BROTHER BAXTER
Seeing as youre so fond of them.
You can pick them up here at four
o'clock every day until you comply
with the rules of the school.

Conor looks at him in disbelief. Is this really whats going

to happen now?

INT. THE CORRIDOR - MOMENTS LATER

Close on a pair of stockinged feet. Conor walks down the

corridor in his socks. Kids laugh. What is going on.
 27.

EXT. THE YARD - LATER

Now Conor walks through puddles in the yard. His socks are
already developing holes.

INT. ART CLASS - LATER

Conor sits in art class. This class is made up of about

twelve kids. Including Conor. Theres some interesting art on
the walls. Conor rubs his feet together, trying to keep warm.

MISS DUNNE (40s), sits on the corner of her desk. She has a
curvy figure, and a mane of dyed blonde hair. She has a
Dublin accent. She has a scented candle lit on her desk. A
few flowers in a glass.

MISS DUNNE
Right, so most of yiz picked this
class because ye didnt wanna do
mechanical drawing. Am I right?

Most people nod.

MISS DUNNE
Yiz think art class will be a
doddle? A chance to get a break in
the day and scribble a few pictures
in between other classes?

A few lads nod in agreement.

MISS DUNNE
Right, well youre not completely
off the mark.

This gets a little laugh.

MISS DUNNE
Art should be a break from the rest
of the world. It should never be
work. Its kind of... therapy. But
dont think youre not going to
learn something in here. Im going
to impart some information to ye,
okay? So when youre out with a
girl at the National Gallery, you
can look at a painting and SAY
something about it. Okay?

A few nods and mutterings of acceptance. Mick Mahon puts his

hand up.

MICK MAHON
Ill take you on a date to the
National Gallery any day, miss.

(CONTINUED)
 28.

MISS DUNNE
Ah, thanks, Michael. But I have a
fiance already.

MICK MAHON
Are you sure?

MISS DUNNE
Positive.

She puts on her glasses to get a closer look at Conors feet

under his desk.

MISS DUNNE
What the hell is going on here?

CONOR
Oh. I dont have black shoes. So I
have to leave my brown ones in
Brother Baxters office every day
until I get some.

She shakes her head.

INT. THE CANTEEN - LATER

Conor enters the canteen in his bare feet. He looks around.

Up ahead in a little group, he sees Barry. He musters up the
courage, and approaches, tapping him on the shoulder. Barry
Bray turns around.

Other kids notice this.

CONOR
Hey. I understand that youre in
pain. That there is a conflict
within you. And that cant be easy
to deal with in this school. You
publicly humiliated me. So now, I
publicly forgive you. Barry Bray.

EXT. THE SCHOOL - MORNING

Conor now has the TWO black eyes of the opening scene. Darren
stands beside him.

He marches off towards the GIRL across the street. We hold on

Darren this time. In a few moments, Conor returns:

CONOR
We need to form a band...
 29.

EXT. A SMALL COTTAGE - DAY

Conor and Darren stand at the front door of a small, run-down

cottage on a narrow lane way. They are not wearing their
school uniforms. Its out of school.

Darren knocks on the knocker.

DARREN
Eamons a genius. He can play every
instrument known to man. His hobby
is rabbits.

After a while we hear footsteps thundering down the stairs.

The door opens and EAMON (14), stands there. Eamon wears
stone-washed denims, matching DENIM (!) jacket, a crew neck
jumper, and white, dirty boot runners.

He has curly hair, and wears steel-rim glasses. He sports a

wicked mullet.

DARREN
Hey Eamon. What you doing?

EAMON
Nothing. I was just feeding me new
bunny. Howareya Darren.

DARREN
Cool. This is Eamon. Eamon, this is
Conor. Hes new in the school, and
hes putting together a band.

EAMON
So?

INT. EAMONS LIVING ROOM - MOMENTS LATER

Eamons small living room has been transformed into a band-

rehersal space. In a semicircle in the corner of the room is
a drum kit, guitar amp, keyboard, and microphone. Conor looks
about, impressed.

CONOR
Wow! Where did you get all this
gear??

EAMON
Me das in a covers band. Weddings,
parties, pubs.

Close up on the logo on the kick drum: EAZY LIVIN with

some glittery stars.

DARREN
Eamon can play every instrument
known to man, cant you Eamon?
(CONTINUED)
 30.

EAMON
Probably.

DARREN
Show him.

FOUR VERY QUICK SHOTS: Eamon plays the bass guitar, slapping.
The drums. The guitar, soloing. And the keyboard, playing
jazz.

CONOR
Wow. So/

But Eamon isnt finished.

SIX more very quick shots. Eamon is playing an African

Balaphone. Next, hes playing an Indian flute. Then the
Uilleann pipes. Then a shaker. Then a Conga drum.

Finally he is done. Hes clearly something of a prodigy.

EAMON
What do you play yourself?

CONOR
(thinking on his feet)
Im more of a singer.

Eamon waits for him to go on.

CONOR
And I write songs. Well, I mean,
lyrics. Words. But I havent put
them to music yet.

EAMON
So what do yous want from me?

DARREN
We want to hire your instruments.

CONOR
(interrupting)
No way. Youve got to be IN the
band. Youre amazing. Right Darren?

DARREN
Are you into that Eamon?

We can see that Eamon is very glad to be asked, but bluffs a

little:

EAMON
What kind of music are you going to
be doing?

CONOR
I dont know yet.
(CONTINUED)
 31.

EAMON
You have to know what youre going
to play. What are you into?

CONOR
Im a futurist.

EAMON
What does that mean?

CONOR
Like no nostalgia. Not like your
dads band. Not looking backwards.
Just forwards.

EAMON
Cool. Like Depeche Mode?

CONOR
(not knowing them)
Okay.

EAMON
Or Joy Division?

CONOR
(bluffing)
Right.

Eamon sure knows his stuff.

EAMON
Or Duran Duran. What do you think
of them?

CONOR
(beat, then parroting
Brendan)
The jury is out on which way those
guys will go. Theyre a lot of fun,
and James Taylor is one of the most
proficient bass players in the UK
right now, giving them a funky
edge.

Silence. Eamon is impressed, even though Conor has got John

Taylors name wrong.

EAMON
JOHN Taylor.

CONOR
Yea. John. Of course.

They stand there, sizing each other up.

(CONTINUED)
 32.

EAMON
Ill be in the band. Ill play
guitar. And help write the songs.
We can rehearse here because me
das in Saint John Of Gods.

DARREN
Is that a pub?

EAMON
No, Darren. Its where alcoholics
go to get off drink and stop
beating up their wives and kids.

DARREN
Right.

EAMON
And neighbors.

CONOR
Okay.

EAMON
And the police.

INT. EAMONS KITCHEN - MOMENTS LATER

Conor, Eamon and Darren sit around the kitchen table

continuing their plans.

Eamons MOTHER (45), is pouring Cup-O-Soup into three bowls

in front of them, and giving them slices of bread. Eamon is
stroking a bunny on his knee.

EAMON
Whos going to be the manager?

DARREN
Me.

EAMON
Have you managed bands before?

DARREN
No. (thinks) Im just breaking into
the market?

EAMON
Nice. How are we going to cut
things up?

DARREN
Ill draw up contracts?

EAMONS MUM
Do you need a pen?
(CONTINUED)
 33.

EAMON
Ma, we are trying to have a band
meeting here?

She smiles as she pours.

EAMON
Gotta have everything straight
first. Get everything down on
paper. Otherwise you can get ripped
off by the big record labels when
they come a huntin. Thats what me
dad says.

Eamons mum laughs conspicuously.

EAMON
When do you want to rehearse?

EAMONS MUM
Not the weekends. Hes got a job
packing shelves in Quinnsworth on
Saturdays. Youre not leaving that
job. Not for any jaysis band.

CONOR
How about Mondays and Wednesdays
after school.

EAMON
Sounds good.

EAMONS MUM
Thats fine.

DARREN
Now all we need is other musicians.
Do either of you know any other
musicians?

CONOR
No. You?

DARREN
No. Eamon?

EAMONS MUM
He usually just plays on his own,
dont you son?

She squeezes his shoulder.

EAMON
Right, we cant get any peace here.
Lets continue this meeting out the
back.

They get up, following Eamon out back.

(CONTINUED)
 34.

EAMONS MUM
No smoking now!

EAMON
Ma! How many times do I have to
tell you? I dont smoke!

They exit.

INT. A SHED - MOMENTS LATER

The three of them stand in a VERY small shed. They are all
smoking. They are continuing their plans.

From the window at the kitchen where Eamons mum is washing

up, she can plainly see smoke wafting out the window. She
shrugs.

Darren clicks his fingers.

DARREN
Theres a black guy in 3B?

EAMON
So?

DARREN
Be cool if he was in the band.

CONOR
Why?

DARREN
Hes the one colored guy in the
whole school. Probably in Dublin!
Having a Golliwog in the band would
give us a real edge.

CONOR
You cant say Golliwog.

DARREN
Why not?

CONOR
Trust me. You just cant.

Darren looks to Eamon for this. Eamon shakes his head,

agreeing with Conor. Darren shrugs.

CONOR
Anyway what if he cant play
anything?

DARREN
Hell be able to play something.
Hes black!
(CONTINUED)
 35.

Close on a FLYER up on a notice board in school. It reads:

Futurist band forming. Looking for

Bass player, drummer, and keyboard.
Own instruments not essential, as
we have them. Influences include
DEPECHE MODE, DURAN DURAN and many
more! Contact Management Solutions
at 221 St. Teresas Gardens. No
telephone. Just call in.

EXT. A HOUSE ON A HOUSING ESTATE - DAY

Conor, Eamon and Darren knock on the door of a small house on

a shitty housing estate. In a moment, an enormous, beautiful
woman answers the door. She speaks in a strong Nigerian
accent, wearing colorful headgear and dress. Theyve never
seen anything like it.

EAMON
Wow.

WOMAN (EARLY 30S)

Can I help you?

DARREN
Is this the house where the colored
lad lives?

WOMAN
What do you think? How many black
people do you think live on this
shitting estate!?
(beat)
Do you know Ngig?

DARREN
What is that?

WOMAN
My son! Do you know my son?

CONOR
No. But were in his school. And
were putting a band together. Does
he play any instruments?

WOMAN
(opening the door wider)
Why dont you ask him yourself.

They enter.

DARREN
Does he speak English?
 36.

INT. NGIGS SITTING ROOM - MOMENTS LATER

The three lads stand in a small, tidy living space. In front

of them, NGIG (14), a black kid, stocky, well built.

DARREN
(very slowly)
WE-ARE-PUTTING-A-BAND-TOGETHER. I-
AM-THE-MANAGER.

NGIG
What the hell is wrong with him?

When he speaks, he speaks in a tough, inner city Dublin

accent.

DARREN
Oh. You sound different from your
ma?

NGIG
Course I do, Ive been here half
me bleedin life. What did you
expect.

CONOR
Would you have any interest in
being in a band?

He clearly is.

NGIG
Maybe. What kind of music are yous
playing?

EAMON
Were not 100 percent sure yet. But
do you play any instruments?

He is about to shake his head, when his mother interrupts.

NGIGS MOTHER
Of course he does. Hes black.

Ngig looks doubtfully at his ma. She nods her head.

Music starts up on the track. Its sketchy, out of time, but

vaguely recognizable. Its a bad cover version of RIO, by
Duran Duran.

INT. SYNGE STREET SCHOOL CORRIDOR - DAY

Song over.

TRACK out from the flier. Two KIDS are writing down the
number from the flier on the wall. They are identical twin
rhythm section, GARRY and LARRY (14).
(CONTINUED)
 37.

It is hard to read the number, as the poster is covered in an

array of Spunking Dick drawings.

INT. EAMONS LIVING ROOM - DAY

Conor sings into a microphone. Eamon plays rhythm guitar.

Garry fingers a bass guitar. His twin brother Larry sits
behind the drum kit. Ngig cycles through sounds on an early
synthesizer. He has no real idea what hes doing.

Conor is hesitant and nervous. Though he can sing, he has

zero presence.

Its chaos. They are all dressed in their school uniforms and
look awful.

TRACK down to find a tape casette recorder on a chair in the

middle of them. It is RECORDING.

The song ends.

NGIG
Not bad.

GARRY
Sounds great.

NGIG
I think we sped up a little.

EAMON
Really? We were shit.

LARRY
Yeah, its a shit song. We should
be a metal band.

CONOR
Its not the song. Its us.
It was all over the place. Lets
try it again.

LARRY
Smoke break!

EAMON
What?

NIGIG
Cool. Im gasping for a smoke!

They all run out.

Eamon sighs, looking at Conor, the only other one who hasnt
left his station.
 38.

INT. THE SHED - MOMENTS LATER

ALL of the band are crammed into the shed smoking.

NGIG
So what are we called?

They think.

EAMON
The Rabbits?

NGIG
What is wrong with you and
Rabbits??

EAMON
I just love them. So fluffy. Those
ears. Not a dog. Yet not quite a
cat. And manageable shit. Just, the
perfect pet.

CONOR
I have an idea. What about La
Vie.

Silence. Darren looks at him, witheringly.

DARREN
What does that mean?

CONOR
It French for The Life

GARRY
Whats French for Thats not going
to be the name of the band?

CONOR
(beat)
Cest nes pas le nom du groupe

GARRY
Right. There you go.

EAMON
What about Sing Street.

They think about this. Not bad.

CONOR
I like that.

INT. BRENDANS ROOM - NIGHT

Song continues.

(CONTINUED)
 39.

Pull out from Brendans tape machine. Conor is playing his

brother his first demo tape. The tape reads SING STREET
DEMO 1. If it sounded bad live this afternoon, it sounds
worse played back on a small tape machine.

Conor chews his nails in anticipation of his big brothers

response. Brendan finally ejects the tape before its over.

BRENDAN
This is BAD. And theres nothing as
bad as bad music. And you must
never play this again.

To Conors surprise, he begins unspooling the tape, pulling

it out in a pile at his feet.

CONOR
You know you can record over tapes?

BRENDAN
No no. All evidence of this day
must be destroyed.

He finally bins the tape.

BRENDAN
Thats a novelty act. You want to
get the girl right?

CONOR
What?

BRENDAN
(shouting, impatient)
The Girl! Thats what this is
about? Right?

CONOR
(thinking)
Oh. Yes. The girl. Right. Okay.

BRENDAN
Right. So youre going to get her
with someone elses art? Are you
kidding me?

CONOR
I suppose. But were just starting
out. We need to learn how to play.

BRENDAN
Play? PLAY? You dont need to know
how to play! You think the Sex
Pistols knew how to play? Who are
you, Steely Dan?

(CONTINUED)
 40.

Brendan is coming into his own. He leaves his chair, pacing

the room. Pulling different records from his collection. He
now has the first project of his adult life: his brother.

BRENDAN
You have to learn how to NOT play.
Thats rock n roll. And that takes
practice.
(beat)
And youre not a covers band!

CONOR
Really?

BRENDAN
Every school has a covers band.
Every wedding. Every pub. And in
every covers band theres a middle
aged man who never knows if he
could have made it because he never
had the balls to write a song for
someone. Rock n Roll is a risk. You
risk being ridiculed.

Conor thinks about this.

CONOR
I dont know how to write a song.

Brendan now has a large pile of records in his arms. He

points at the door.

BRENDAN
Close the door. And sit down.

CONOR
Really? I have school in the
morning.

BRENDAN
THIS... is school.

Conor closes the door. Sits down. Its going to be a long

night.

DISSOLVE TO:

SONG 1

A song is formed...

INT. EAMONS LIVING ROOM - DAY

Conor and Eamon are alone in the rehearsal room. Conor

reading from a little notebook of scrawled thoughts and
pictures. Eamon sits on the edge of the couch with an
acoustic guitar.
(CONTINUED)
 41.

CONOR
(reading)
Well shes standing on the corner.
Like an angel in disguise. And I
want to try and warn her, but Shes
got dangerous eyes.

EAMON
Dangerous eyes. I like that. What
does that mean?

CONOR
I dont know.

EAMON
Whats this song about Conor?

CONOR
Its like, when you dont know
someone, theyre more interesting.
They can be anything you want them
to be. Its like you know them
better, when you dont know them.
You know?

EAMON
No that doesnt make any sense.
Whats it called?

CONOR
The Riddle of the model

EAMON
Epic. What about a rhythm like
this.

Eamon plays a chord. A funky rhythm.

CONOR
Nice. Slow it down a little.

Conor tries this lyric over it. Eamon drops to an F, and it

starts to sound like something. They smile at the change.
Conor takes out a pen from his school bag, adding a lyric, as
Eamon continues to play.

We start to see how this might work- Conor the

director/lyricist/visionary, Eamon the pragmatic musical
prodigy.

The sound of their first song coming together plays over the
following scenes. Just guitar and voice for now.

INT. IRISH CLASS - DAY

Song over.

(CONTINUED)
 42.

Conor sits at the back of Irish class. The TEACHER reads PEIG
SAYERS while sitting behind his desk. Conor writes feverishly
in his notebook, looking out the window for inspiration. The
teacher calls a BOY up to his desk, and slaps him, really
hard across the face.

( SCENE 41 INTENTIONALLY DELETED )

INT. CONORS BEDROOM - DAY

Conor writes in his bed. His parents rowing on the corridor,

off.

ROBERT
(off, muffled)
Thats funny, coming from you!

PENNY
Keep your bloody voice down!

Two doors slam, separately. He listens out, then continues

writing.

INT. EAMONS LIVING ROOM - DAY

Song over.

The song is really coming together, as Conor and Eamon jam

it. Though complete opposites, this combination of
songwriters is coming together. Through the window behind
them, the rest of the band are playing football in the
garden. Conor taps on the window, waving at them to come in
and give it a spin. They run in.

INT. EAMONS LIVING ROOM - LATER

Now the FULL band play the song. And it sounds pretty good.
Conor is still a little shy of his own voice, and is frozen
at the microphone.

Eamon gestures for him to enjoy it. But he just smiles and
stays static.

Again, the tape recorder records it on the chair in the

middle of them.

EXT. SYNGE STREET - MORNING

Song over.

The song plays over as Conor walks across the street. From
his satchel he produces a casette tape as he meets the GIRL,
standing on her stoop smoking. He hands her the tape.
(CONTINUED)
 43.

GIRL
Whats this now?

CONOR
Thats the song. I mentioned it to
you.

GIRL
Oh yeah. The song. Youre the kid
in the band! Thats cool.

CONOR
You should probably learn the
lyrics. So you can lip sync. Were
shooting down the lane at the back
of Quinnsworth. This Saturday. At
12 oclock. See you there.

He nods, not waiting for a response. She blows smoke,

watching him go. Then she looks at the tape in her hand.

EXT. SYNGE STREET SCHOOL - NIGHT

By moonlight, Conor, Darren and Eamon peel back a sheet of

corrugated metal at the back of school. This allows them a
gap to slip through into the yard.

EXT. SYNGE STREET SCHOOL - NIGHT

Darren opens a little back door with a key. They are in.

INT. SYNGE STREET SCHOOL - CORRIDOR - NIGHT

The three of them sneak down a basement corridor. Conor

guides them with a clunky bicycle lamp. They arrive at a
door. A handwritten sign says Audio Visual Room.

Darren tries numerous keys until he gets the right one. They
open it.

DARREN
(with the flair of a
master criminal)
Gentlemen, I give you the Audio
Visual Department....

INT. SYNGE STREET SCHOOL - THE AUDIO VISUAL ROOM - NIGHT

This is hardly a room at all. More like a broom closet.

Conors torch reveals a steel shelving unit, bare, except for
the camera and VCR machine on the top shelf. And three or
four VHS tapes.

They start taking it down.

 44.

EXT. SYNGE STREET SCHOOL - NIGHT

The three of them run back across the road by moonlight

laughing. Music plays over.

EXT. A LANE-WAY - MORNING

The band are setting up their instruments on a rainy morning.

They are down a little laneway at the back of a row of shops.
Piles of rubbish, old bins, and an abandoned car. Its
overcast and depressing. And cold.

Their guitar amps and drum kit look pretty small out in the
open.

EAMON
It looks like loads of gear back
home, doesnt it? And yet it looks
shit here.

Conor is setting up the video camera across from them on a

tripod. He looks through the viewfinder. It does look shit.

He checks his watch.

DARREN
Where is this chick?

CONOR
(worried)
I dont know.

DARREN
Did everyone bring some clothes?

They start rooting through plastic bags stuffed with clothes

from home.

Larry holds up a pair of flares. Garry, a childs cowboy

outfit.

DARREN
Who the hell brought a cowboy
outfit?

GARRY
Me. Its all I could find.

DARREN
No one dresses as a cowboy in a
band!

LARRY
Theres a cowboy in The Village
People.

(CONTINUED)
 45.

GARRY
Yeah. And Adam Ant.

EAMON
Adam Ant is a highway man.

LARRY
So we can have a highway man, but
not a cowboy? Are you mentally ill?

GARRY
So what did you bring then?

Hard cut.

EXT. LANEWAY - MORNING

Conor is dressed as a low-budget New Romantic. A mash-up of

ideas from a cross section of TV. Nothing quite works. Hes
wearing sunglasses, bangles, his fathers long overcoat with
the sleeves rolled up, and a blouse that definitely belongs
to his mum.

Eamon is dressed in his Dads show-band uniform. A purple,

velvet suit that is way too big for him. Hes a little Austin
Powers.

EAMON
Its me Das showband outfit.

Garry, Larry and Ngig are unimpressed. Darren isnt sure.

GARRY
Is this a gay band?

CONOR
Coming from the one who wants to
look like The Village People.

GARRY
Whats gay about The Village
People??

As the others squabble, Conors attention is drawn to the end

of the lane, where Raphina has just appeared.

He smiles. She approaches carrying a large bag. She looks

great, in a huge Angora sweater, pencil skirt and high heels.

RAPHINA
Hello all. Sorry Im late. I was
out last night. At a night club.
Still recovering.

She takes off her sunglasses, dramatically, looking them up

and down.

(CONTINUED)
 46.

RAPHINA
Jesus Christ. What in Gods name
are ye all wearing?

CONOR
Yeah, were just working that out.
Maybe you can help.

RAPHINA
Whos your wardrobe person? Stevie
Wonder?

CONOR
We dont have a wardrobe person.

RAPHINA
Right. Whos the camera man. Maybe
he can make some of this work.

CONOR
Em... We dont really have...

DARREN
Im the camera man.

RAPHINA
I thought you were the producer.

DARREN
AND camera man. Saving money all
the way.

Conor takes her by the elbow, walking her out of earshot a

little.

CONOR
What did you think of the song?

RAPHINA
I liked it. Its the only reason
Im here. Did you write it?

CONOR
Pretty much. Eamon wrote most of
the music.

RAPHINA
So you wrote the lyrics? Theyre
cool. Who are they about?

CONOR
Just a girl, I see her about.

RAPHINA
You know youve got really good
cheek bones?

(CONTINUED)
 47.

CONOR
What?

RAPHINA
Yeah. Look at you. Can I do your
makeup?

CONOR
Really?

RAPHINA
Yeah. This light is going to be
really harsh on camera. You should
totally take the edge off it. Im
actually wearing some make up right
now.

Shes wearing a lot of makeup.

RAPHINA
In fact, guys! You should ALL wear
makeup.

The band turn around.

DARREN
Lets get one thing straight. I am
NOT wearing any makeup.

RAPHINA
Relax. Youre not even in the band.

DARREN
Yeah, thank God!

GARRY
I am in the band. And yet Im not
wearing makeup.

RAPHINA
Why not? Youve got great lips.

GARRY
Piss off would you?

RAPHINA
Whatever. Those who actually care
about how their band look and want
to do this half-properly, queue
over here.

GARRY
Whos saying we dont care about
the band? This band is my life!

DARREN
Youve been in it for three days.

(CONTINUED)
 48.

EAMON
Alright, stop rowing.

GARRY
Bitch.

Raphina sets up her stall on a rubbish bin, taking out her

makeup kit. Conor sits down on an upturned box and she begins
applying his make up.

GARRY
Who is this chick anyway? Shes
here two minutes and shes
threatening to break the band up!

EAMON
Shut up Garry.

GARRY
Bleedin Yoko Ono.

EXT. LANEWAY - MORNING

All of the band are now wearing makeup. Its a little full-
on, but they look sort of cool.

Conor directs Darren as to what the shot will be, referring

to his notebook. Darren looks through the viewfinder.

CONOR
Okay, so were playing here.
Raphina is standing over there,
against the wall. I go up to her.
Start singing to her. Make sure to
pan up to her eyes, when I sing
Shes got Dangerous eyes.

DARREN
I think a zoom would be better.

CONOR
Okay. A zoom, whatever.

RAPHINA
What if I have little lightening
flashes on my eye lids when I close
them?

CONOR
Can you do that?

RAPHINA
I can try.

CONOR
Cool. So then, for the chorus, you
walk off, and I follow.
(MORE)
(CONTINUED)
 49.

Circling you like when hes

following her in Thriller. Do you
think you can keep the camera
steady, Darren?

DARREN
What do you think?

CONOR
Okay, so then I follow her up the
lane. Keeping behind her. Then
well go around and get that angle
in front.

DARREN
Love it!

EXT. LANEWAY - MOMENTS LATER

Conor presses PLAY on the tape machine. It is plugged into a

small speaker. He signals to Darren to start filming. Then
runs back to the band, who have started miming to the song.

Raphina is standing against the wall. Conor approaches her,

Darren following.

Conor starts lip syncing to the song:

CONOR
Well shes standing on the corner.
Like an angel in disguise. And Id
really like to warn her. But shes
got dangerous eyes.

Darren crash zooms into her eyes. Raphina closes them, she
has little lightening flashes on her lids.

CONOR
Well she tells me shes a model.
Of international reputation. Shes
lightening in a bottle. But theres
a stipulation...

She sets off and Conor follows her. Darren walks backwards in
front of them.

Conor yells Cut, and makes some adjustments. Ngig has moved
his synthesiser and stand about three feet to try get in the
back of Conors shot.

CONOR
Cool. How does it look Darren?

DARREN
Pretty epic. Its hard keeping
focus on that zoom. And Ngig, stop
moving into the back of his shot.
(CONTINUED)
 50.

NGIG
I havent moved an inch!

DARREN
You started about three foot that
way!

NGIG
It was windy.

CONOR
And its not too shaky when youre
following us?

DARREN
No, its grand.

CONOR
Okay, take 2!

FIRST VIDEO. SHOT ON ACTUAL EARLY VHS.

Here we see their actual results, edited crudely together.

INTRO: Some zooms into hands playing instruments. Keyboard.

Bass. Guitar. Ngig is wearing leather gloves.

FIRST VERSE: Conor breaks away from the band, singing into
camera in front of Raphina. Ngig edges into his shot.

Four quick shots of each band member turning their heads and
looking into camera.

Raphina signing autographs for the band members, over the

line She has an international reputation.

CHORUS

Raphina breaks away, walking down the laneway. Conor walks

around her, singing to her, ala Michael in Thriller. But
Darrens camera work is RIDICULOUSLY shaky. Like sea sick
inducing.

SECOND VERSE:

The band are using the abandoned car as their set. Some
sitting on the roof. Some on the boot (or hood, for our
American colleagues), and others in the body of the car.

Raphina is standing on the sidewalk. Conor gets out of the

car, offering her a lift. She sits in.

Up front, Conor is driving Raphina. She looks into camera

for the last line, and mouths The riddle of the model

End.

(CONTINUED)
 51.

The group laugh as they prepare to watch playback through the

viewfinder.

But this moment is interrupted when Barry Bray appears up the

laneway. He is walking with an unshaven man in his mid-
thirties who is drinking a can of beer. A friend, or brother,
maybe. They are carrying a few plastic bags of shopping.

CONOR
(under his breath)
Oh shit.

Barry and THE MAN pass them, THE MAN slowing down to check
out whats going on. He looks like hes had a few cans
already.

MAN
Its just kids filming something.
What are you filming lads?

CONOR
A video for a band. Hi Barry.

Barry shrugs.

MAN
Are these in your school, Barry?

Whatever has come over Barry, he is less confident in the

presence of THE MAN. Less of a bully.

MAN
Theyre wearing bleedin make up!
Jaysus lads, are yous making a
movie, is it?

His laugh turns into a coughing fit. His tattooed hands over
his mouth as he coughs.

DARREN
A video for a band.

MAN
Why dont you get in the band
Barry? Hah! Dress up and all. Youd
be bleedin great.

He starts laughing at the idea of Barry in costume.

BARRY
Ah piss off.

But he doesnt like this.

He hits him a slap on the side of his head. Its a sucker

punch, and totally out of proportion.

(CONTINUED)
 52.

MAN
What did you say?

The mood has suddenly changed. Barry hardly flinches, but you
can see his eyes are watering up. The MAN calms down. Lights
a cigarette.

Barry catches eyes with Conor, who looks away.

MAN
See yous boys. Good luck. See yous
at the Oscars! Come on Barry.

Barry follows behind. They turn the corner up ahead. The

others dont know what that was.

DARREN
Knackers. Come on. Never mind them.

Darren presses play on the machine as the others watch. But

Conors attention is momentarily taken by Barry, who makes a
throat-slitting gesture back to Conor. All the colour drains
from Conors face.

( SCENE 55 INTENTIONALLY DELETED )

( SCENE 56 INTENTIONALLY DELETED )

EXT. LANEWAY - DAY

Raphina diverts his attention back to the viewfinder. On

screen, Conor begins singing. Raphina smiles at him. She
grabs his hand in excitement as she appears on screen. And
doesnt let go. Conor looks down at his hand in hers.

EXT. STREET - NIGHT

Conor is cycling his rusty racer through the city. Raphina is

sitting on the cross bar, holding on to the handlebars,
enjoying the wind in her hair.

RAPHINA
So where do you live?

CONOR
Not far from the school. Harcourt
Terrace?

RAPHINA
Oh, by the canal. You grew up
there?

(CONTINUED)
 53.

CONOR
Yeah. Though we might be moving. My
parents are broke. Thats why they
sent me to that school.

RAPHINA
Yeah, I wondered about that. Youre
a bit posh for around here!

She laughs.

CONOR
Speak for yourself. Your house is
massive!

She is silent.

CONOR
And my parents are probably
splitting up.

RAPHINA
Thats sad. You doing okay with it?

CONOR
Oh yeah. Its sort of intense being
around them. Theyll probably get
separate flats. Well live between
two places. Me and my brother.
Which will be cool. Im like Guys,
split up, youre killing each
other.

He is experimenting with this. It is not how he feels about

it at all.

RAPHINA
A bit like an American movie.
Youll be all complicated and
divorced and sophisticated.

CONOR
(bluffing)
A bit, yeah.

He doesnt quite know what she means, as they pull up outside

her house across from the school. She jumps off the bike.

RAPHINA
Jesus, all that drama! Im glad I
dont have parents.

CONOR
Right.

He has no idea what she means. Though intrigued, he is polite

enough not to ask.

(CONTINUED)
 54.

A Ford Granada screams into the street, and skids up beside

them. The window winds down, and a smiling man (22) is at the
wheel. Music blaring, smoking a cigarette.

MAN
Hey baby.

RAPHINA
Hi. This is Evan Adams.

MAN
Word.

CONOR
How do you do.

RAPHINA
This is Conor, the singer in the
band I mentioned.

EVAN
Ah! Cool. She played me your song.
Good vibes. Bitta Duran Duran in
there, little bitta New Romance.
What style would you say you are?

CONOR
Im a futurist.

EVAN
Epic. See you in the future then.
You ready, baby?

RAPHINA
Yeah. See you soon.

She gives Conor a very European kiss on either cheek. He is

blushing awkwardly. Evan looks very dangerous and cool,
wearing a dirty leather jacket and sunglasses. He is
listening to GENESIS.

Raphina gets into the passenger seat and the car revs up.

EVAN
Nice blouse!

He shouts as he spins off. She rolls down her window and

gives him a big, white smile.

RAPHINA
Lets make another video soon,
yeah?

Evan U-turns. But but has over estimated the width of the
street, and the coolness of the U-turn is undermined by the
fact that he has to do a five point turn.

Finally, the car drives off.

(CONTINUED)
 55.

Conor stands around. Suddenly, he feels very young and self

conscious. And hes wearing his mothers blouse.

He looks over towards the gate on her house. As he passes it,

he sees a detail he missed before. Its a small sign on the
gate. It reads

KIRWIN HOUSE ESTABLISHED 1940

He continues past.

INT. BRENDANS ROOM - NIGHT

Conor is playing Brendan the dailies of his first video. They

are watching it on a small TV at the end of Brendans bed. On
screen, a wobbly camera follows Raphina down the laneway.

CONOR
You have to imagine its not as...

BRENDAN
Shit?

The take ends. Conor nervously awaits his brothers reaction.

Below the table, we see that Conors fingers are crossed.

BRENDAN
(finally)
This will be good.

CONOR
(delighted)
Really?

BRENDAN
Yeah. If you had proper cameras and
a good director. As long as its in
your head, thats the important
thing. This is an exercise in
imagination.

CONOR
Really?

BRENDAN
Yeah. Think big, Conor. This is all
just a means to an end.
SHE looks amazing.

They both watch Raphina on screen. Frankly, she is the only

good thing about this whole affair. She has a confidence and
sultry beauty that totally belongs on screen.

BRENDAN
The Riddle of The Model isnt a
great title.
(MORE)
(CONTINUED)
 56.

But your chorus is promising. You

gotta get her in all the videos.

CONOR
Yeah?

BRENDAN
Oh yeah. She should connect them
all. Shes world class. Looks a
little like Dee C Lee, from the
Style Council? Without her, youre
just a bunch of gay looking
children down an alleyway. She
elevates it.
So did you kiss her yet?

Surprised by his forthrightness.

CONOR
What? No way.

BRENDAN
Why not?

CONOR
Shes a year older than me. And
anyway, shes got a boyfriend.

BRENDAN
Oh yeah. Who?

CONOR
Evan Adams. Hes like, a grown man.
He has a car and all, and stubble.

BRENDAN
Whats he doing hanging out with a
kid?

CONOR
Shes not really like a kid.

We hold on Brendan. He doesnt like the sound of this. He has

pulled three albums out of his collection. He hands them to
Conor.

CONOR
Whats this?

BRENDAN
Homework. Youre good. Get better.

Conor studies the sleeve. A Joe Jackson record. The Police.

The Jam.

BRENDAN
How do you know hes her boyfriend
anyway?
(CONTINUED)
 57.

CONOR
Well it seemed like he was. They
pulled off in his car, music
blaring. Hes pretty cool.

BRENDAN
What was he listening to?

CONOR
Genesis?

BRENDAN
He wont be a problem.

CONOR
Really?

BRENDAN
Trust me, no woman can truly love a
man who listens to Phil Collins.

Off, we hear a row breaking out downstairs between the

parents. Brendan lowers the volume.

BRENDAN
Shh. Listen.

They listen. Raised but muffled voices. Slammed doors. The

smash of a plate.

BRENDAN
I think shes having an affair.

CONOR
What? Why?

BRENDAN
I see her getting a lift home from
her boss a couple of times a week.

CONOR
She doesnt drive. Whats wrong
with that?

BRENDAN
She always gets out of the car
about a hundred yards up from the
house. Its a nervous thing. Shes
overcompensating.

We hold on Conor considering this. It clearly makes him very

sad.

EXT. STREET - NIGHT

On bike.

(CONTINUED)
 58.

Conor free wheels. He is preoccupied. In his satchel over his

shoulder, the three albums.

EXT. SYNGE STREET - RAPHINAS HOUSE - NIGHT

Conor cruises by Raphinas house. He leans against a tree,

still sitting on his bike. Hes not sure what hes doing
here.

He is about to cycle off, when the Ford Granada pulls up, and
Raphina gets out, crossing over to the drivers door. Evan
Adams holds onto her hand, pulling her back. She laughs, and
pulls away, making her way up her steps. He accelerates off,
wheel spinning, burning rubber. She rings the doorbell. In a
moment, a WOMAN (60s) opens the door and lets her in.

Across the street, Conor checks his watch. Just coming up to

9 pm.

He cycles off.

EXT. EAMONS HOUSE - NIGHT

Conor knocks on the front door of Eamons house. Checks his

watch hoping its not too late.

In a moment, Eamon answers, carrying a rabbit.

EAMON
Howareyou Conor. Whats going on.

CONOR
I dont know. What are you doing?

EAMON
Just rabbit stuff.

CONOR
Do you want to write a song?

Eamon opens the door wider, meaning, YES.

INT. EAMONS BEDROOM - NIGHT

Eamon sleeps in the attic room. The room is covered in

posters of bands and football teams. And some rabbits.

Conor and Eamon are studying the records, playing and

replaying parts.

Now they are working on a song. They are laughing and having
a good time. Conor writes words down. Eamon tries different
chords. They record parts on a tape machine.
 59.

EXT. SYNGE STREET - RAPHINAS HOUSE - NIGHT

Conor returns down Raphinas street. He pulls up outside her

house across the school, and walks through her gate, climbing
the steps.

He takes a brown envelope covered in sellotape from inside

his jacket and looks at it.

RAPHINA

He stuffs it through the letter box and heads off, cycling

away, looking up at one of the lights in the window.

INT. RAPHINAS ROOM - NIGHT

This is a tiny, monastic little room. There are some posters

on the wall, and a small single bed under an alcove. A small
dresser with mirror. A chair.

Raphina enters, carrying a bowl of cereal. She sits down on

her bed. She is still wearing her clothes. In a moment, a
knock on the door, and a head pops in.

This is MRS. KIRWIN (60), a matronly looking woman in an

apron. She is carrying Conors envelope. She passes it to
Raphina.

MRS. KIRWIN
This came through the letter box
for you.

RAPHINA
Oh. Thanks.

MRS. KIRWIN
Is it from that older lad?

RAPHINA
No.

MRS. KIRWIN
You know how I feel about that,
Raphina, dont you?

RAPHINA
Yes. Thank you. Night.

Mrs. Kirwin nods, exiting.

MRS. KIRWIN
Lights out in ten.

She pulls the door closed, and Raphina opens the envelope.
Theres a cassette in side. With NEW SONG written on it.

(CONTINUED)
 60.

She locates a little tape player from under her bed, and puts
it in, pressing play.

SECOND SONG

The song begins on acoustic guitar with Conor singing.

Raphina smiles as she recognizes his voice. She sits down at
her dresser and begins combing her long hair, starting to
take off her makeup and kicking off her shoes.

The song is instantly catchy, and clearly a love letter from

Conor to her.

As the song hits the chorus, we PAN off her face, and start a
360 slowly around her room as the song plays over.

Theres a family photograph on her locker. A 10 year-old

Raphina in the company of her parents. They all look very
stiff and awkward.

A school profile of Raphina in her uniform, a couple of years

ago. Very troubled.

Off this to various pictures she ripped out of glamour

magazines. Models. Big hair. Lots of make up.

A poster of Tom Waits.

Of The Cure.

Of Siouxsie and the Banshees.

Theres a teddy bear on her bed, with a pair of sunglasses on

his nose, and an unlit cigarette stuffed into his mouth.

An ash tray with a few sticks of incense.

A collection of cassette tapes.

Cartons of cigarettes.

Two books on her locker- Catcher in the Rye and To Kill A

Mocking Bird. Numerous magazines. Vogue, You, Cosmopolitan.

As the song comes towards its end, we have arrived back

around on Raphina. She has transformed. Shes changed into
her pyjamas and dressing gown. And shes taken off her makeup
to reveal a bruise, under her eye, and a cut lip underneath.
She has paused what shes doing, and her eyes have filled
with tears as she listens to the song.

EXT. A STREET - NIGHT

The song cross cuts with Conor cycling at night through town.

FADE TO BLACK.
 61.

EXT. SYNGE STREET SCHOOL GATES - A NEW DAY

Music plays over as Conor turns the corner into the school
gates. There is a little confidence in his step this time.

He has bleached his hair blonde, and styled it so this falls

over his eyes a little in a NEW ROMANTIC way.

He is wearing a little mascara and a little shadow. People

stare at him. As he passes us, we PULL onto BROTHER Baxter,
who watches from above.

INT. ART CLASSROOM - DAY

Conor sits in art class. He is painting a picture of his

band. Miss Dunne leans over his shoulder.

MISS DUNNE
I like it. What is that?

CONOR
My band.

MISS DUNNE
Youre in a band? Cool. What are
they called?

CONOR
I dont know yet! What about La
Vie. Its French for The life.

MISS DUNNE
I know. I like that.

In a moment, there is a knock at the door, and a FIFTH FORM

KID enters.

FIFTH FORMER
Headmaster wants to see Conor
Lawlor.

Miss Dunne nods. Conor gets up, heading out with the fifth
former, worried.

EXT. SYNGE STREET YARD - DAY

Conor follows the fifth former as he marches across the empty

yard. He looks over his shoulder at Conor.

FIFTH FORMER
What are you wearing on your face?

CONOR
Bit of make up. Im in a band. What
do you think Brother Baxter wants?

(CONTINUED)
 62.

The fifth former shrugs.

FIFTH FORMER
Hurry up.

INT. BROTHER BAXTERS OFFICE - DAY

Brother Baxter is filling out files. He doesnt look up.

Conor is led into the room.

FIFTH FORMER
Conor Lawlor, Brother.

He closes the door, leaving Conor standing there. Finally,

Brother Baxter looks up.

BROTHER BAXTER
Whats going on?

CONOR
With what?

BROTHER BAXTER
With...this.

He gestures the face.

CONOR
Oh. Well, I checked the rule book.
The one you mentioned, about the
brown shoes? I couldnt find
anything about makeup. Or altering
hair colour.

He shrugs. He lifts his foot up, revealing the newly painted

black shoes.

CONOR
I painted them. With paint from the
art room.

Brother Baxter doesnt even look at them. He is seething

underneath.

BROTHER BAXTER
Head down to the toilets and remove
the make up right now.

CONOR
Why?

BROTHER BAXTER
Because I told you to.

(CONTINUED)
 63.

CONOR
Im in a band now. A school band.
And I think its important for us
to have a look.

BROTHER BAXTER
Youre a man. Men dont wear
makeup.

CONOR
Yeah, but why not? Like, people in
the 18th century would have worn
make up. So that means that people
like Mozart would have. And he was
a man.

BROTHER BAXTER
So youre Mozart, are you?

Conor shrugs, a little embarrassed. Shakes his head.

BROTHER BAXTER
That makes me Salieri, is it?

CONOR
Whos Salieri?

BROTHER BAXTER
Take the make up off, and stop
acting like you deserve special
treatment.

CONOR
I dont want special treatment. At
all.

BROTHER BAXTER
Youve a fine face, I wouldnt
worry about covering it up with
make up.

He smiles. Conor stands there, trying to work this one out.

BROTHER BAXTER
You can use me own bathroom there.
If you like.

He gestures a door off his office.

CONOR
Im going to go back to class now.

Conor exits. We hold on Brother Baxter.

 64.

INT. THE CORRIDOR - MOMENTS LATER

Conor exits the office, but Brother Baxter is hot on his

tail. He grabs Conor by the hair, and drags him down the
corridor. Conor shouts and wriggles, but BB means business.
Its like a red mist has descended over him. He slaps him a
couple of times across the side of the head. Other kids look
on, clearing the way.

BB kicks in the door to the students bathroom, pushing Conor

through in front of him.

INT. THE TOLIETS - CONTINUOUS

Conor falls into the toliets. BB follows, picking him up and

forcing him over to one of the sinks.

CONOR
You cant do this!

BROTHER BAXTER
You wanna bet?

BB turns on the taps, and as the sink fills up, plunges

Conors head into the water.

Conor bucks like a drowning animal. Brother Baxter pulls his

head back out. Conor gasps for air, spluttering water.
Brother Baxter slaps a bar of soap into Conors face, mushing
it into his face.

BROTHER BAXTER
(shouting)
Well get you clean! Dont worry!
Well clean you up! And get that
shite off ye.

Then down into the water again. Conor splutters. Again, he is

pulled back out, now crying and coughing, his make up mixing
with soap and dripping down his face.

Brother Baxter wipes his hand with a towel, and turns to go,
leaving Conor leaning over the sink shivering.

He exits. We hold on Conor.

INT. ART CLASSROOM - LATER

Conor is back in regular class. He has makeup stains under

his eyes, and his hair is wet. He looks like a drowned rat.
He is shivering, but holding back tears. All eyes are on him.
Some giggling, others shocked. He looks very alone.
 65.

EXT. SYNGE STREET SCHOOL - DAY

Students exit the main gate at the end of the day. Conor
pushes his bike out.

To his surprise, Raphina is leaning against the school gates

up ahead.

She is listening to music on massive, 1970s-style headphones

with a curly lead. They are plugged into her battery operated
tape player from home. Shes smoking a cigarette.

She gives him a wave and one of her killer smiles. Just
seeing her lifts him.

RAPHINA
Hey Cosmo.

CONOR
Who?

RAPHINA
Thats what Im calling you now.
Cosmo. You need a catchy name if
youre going to be in a band.

CONOR
Right. What are you doing here?

RAPHINA
Waiting for you. What happened to
you?

He looks pretty rough.

CONOR
Oh. Nothing.
(off her tape machine)
Does that work?

RAPHINA
(shouting)
For about half an hour. Then the
batteries run out. And I have to
rob more. But it means I can take
my tapes anywhere.

CONOR
Wow. Portable music.

She smiles. Links his arm, and walks off with him.

EXT. THE PARK - LATER - DAY

A small, city centre park. Some kids play on the swings.

Others drink cider and smoke on a bench. Conor and Raphina
enter.
(CONTINUED)
 66.

RAPHINA
I really liked your song. It made
me cry.

CONOR
Oh, Im sorry.

RAPHINA
No no, thats a good thing. But
write me a happy one some time.

CONOR
What if I dont feel happy?

RAPHINA
What have you got to not feel happy
about? Big house. Family. And we
dont live in the Lebanon!

He smiles. She has a point.

CONOR
Whos the guy, with the car?

RAPHINA
Evan?

CONOR
Yeah. Is he your boyfriend?

RAPHINA
Were on and off. Its complicated.
Were kind of on a break right now.

CONOR
Yeah. Thats a good idea. Take a
break for a year or so. Get some
perspective.

RAPHINA
Youre funny. Hes actually a
really nice guy.

CONOR
Yeah. Shit taste in music though.

She smiles.

RAPHINA
Hes taking me to London. Im too
young to go on my own.
Hes organized everything. Booked
the tickets, and got us an
apartment and all. Were going
after I get my portfolio shot. Its
a really big deal to get your shots
done just right. For modelling.
Your whole career can depend on it.
(CONTINUED)
 67.

CONOR
Yeah. And whats in it for Evan?

She pauses, falling behind.

RAPHINA
Are you jealous, Cosmo?

CONOR
Why would I be jealous?

RAPHINA
Exactly. Write me a happy song. I
need a laugh.

CONOR
What if I dont feel happy?

RAPHINA
Your problem is that youre not
happy being sad. Thats what love
is, Cosmo.
(beat)
Happy/Sad.

Cosmo searches her for the meaning of this. She just smiles
back.

She checks her watch.

RAPHINA
Shit, I gotta go. We only have a
half an hour dinner window at my
house.

CONOR
Oh yeah, so whats that house like,
where you live?

RAPHINA
Its fine. Better than some of the
other places Ive been.

CONOR
Cool. So... where are your parents?

RAPHINA
My das brown bread. He got hit by
a car.

CONOR
Oh my God. Sorry.

RAPHINA
No, dont be. He was drunk. He
deserved it. Me mas in and out of
hospital.

(CONTINUED)
 68.

CONOR
Why?

RAPHINA
Shes a nurse.

She laughs. He gets it.

RAPHINA
No. Shes a manic depressive.

Cosmo is shocked by this. But tries to lighten it.

CONOR
So, like, Happy/Sad?

RAPHINA
Youre funny. I like that.

She kisses him on either cheek again, and turns to go, but
then turns.

RAPHINA
Let me know if you need me for
another video before I go.

CONOR
Okay. When are you going?

RAPHINA
Soon.
(beat)
You dont have any problems, Cosmo.

She winks, and sprints off, leaving Cosmo to decode.

INT. BRENDANS ROOM - LATER THAT NIGHT

Conor is standing in the doorway of his brothers room.

Brendan sits on his usual chair.

CONOR
...what did she mean by that?

BRENDAN
She means that youve got to get to
a place in life where youre okay
with your sadness. That youre not
fighting it anymore, but that
youre almost... happy with it.
Its monastic. Shes like a monk. I
like this girl.

CONOR
(Half-getting it)
Right. Happy/sad.

(CONTINUED)
 69.

BRENDAN
So her dads dead, and her mum is
mental? And you thought you had
problems?
(beat)
So thats what the older boyfriend
is about. Daddy issues. I used to
know chicks like her. They can be
tricky. And need a lot of
protecting. Think youre up for
that, Conor?

CONOR
I dont know. Shes not even my
girlfriend.

BRENDAN
So whats it all about then?

CONOR
I think shes just an amazing human
being. Ive never seen anything
like her. The way she talks. And
looks. She wears these sunglasses,
and when she takes them off, her
eyes, its like the clouds clearing
past the moon. And sometimes, I
just want to cry looking at her.

Brendan pauses, smiling.

Brendan has taken a new album down from his shelf. He slips
out the record, and throws the sleeve to Conor. An 80s band,
all dressed in black, looking gloomy. Conor is mesmerized by
their look.

BRENDAN
Theyre happy/sad.

A Gothic, pop/love song starts up on the turn table and

Brendan smiles.

BRENDAN
Close the door.

Conor pushes the door closed, transfixed by the sound.

Brendan takes his seat. Conor, his.

Its going to be a long night.

DISSOLVE TO:

EXT. SYNGE STREET SCHOOL GATES - ANOTHER DAY

As the song continues, Conor walks through the school gates.

He is with Eamon and Darren. Conor is now dressed in a long,
black overcoat.
(CONTINUED)
 70.

(Possibly his Mums), an endless scarf, and has dyed his hair
black, and back combed. A junior Sherlock Holmes/Cure-head.

EAMON
How do you mean, youre
Happy/Sad?

DARREN
Yeah. How am I supposed to market
that?

CONOR
It means that were not pop
anymore.

EAMON
Were we pop? Im happy being any
type of band. I just want to play.

CONOR
Thats fine. Be who you are, Eamon.

EAMON
I dont know who I am. Maybe Im
Happy/Sad too? I dont know.

DARREN
(shouting)
What does Happy/Sad mean??! How can
you be both bleedin things?? It
makes no sense.

CONOR
(stopping)
It means that Im stuck in this
shithole, full of morons and
rapists and bullies, and Im going
to deal with it. Okay? Its just
how life is now. And Im going to
try and accept that and get on with
it, and make some art!

DARREN
Right.

EAMON
How does it affect our music?

CONOR
Positively.

INT. THE DART TRAIN - DAY

Song continues over.

The whole band, with Darren and Raphina, ride the dart train
out of the city.
(CONTINUED)
 71.

They are carrying the camera, and a few props- picture frames
and paint brushes. The band are all Cure Heads now, and look
quite good. But its low-budget Cure Heads. Conor and Raphina
sit across the aisle from them. Music plays over, as they
ride out towards the sea. A welcome break from the city.

Conor watches the sun burst behind Raphinas profile. He

smiles, taking out the camera and filming her.

Conor describes to the gang what this video will be about,

reading from his journal...

CONOR
So the idea of this video is about
a guy standing halfway down a pier.
And a beautiful woman walks past
him. Towards the lighthouse. Half
an hour later, she hasnt come
back. So he investigates. But shes
gone.

DARREN
Wha?

CONOR
Theres nowhere to go. And yet
shes not there?

DARREN
Shes vanished?

EAMON
Shes jumped in. Shes killed
herself.

CONOR
Correct. Shes really sad.

RAPHINA
No shes not. Shes a mermaid.
Shes jumped back into the sea. You
see, she got washed up in a fishing
net. And shes been in the city.
But shes been dying to return to
the water. To her friends. Where
she belongs.

Conor likes this. He smiles. He starts writing this into his

journal.

CONOR
Yeah. Thats better.

EXT. THE PIER - DAY

The band have set up their gear at the end of the pier,
looking out to the Irish sea. Conor is framing up the camera.
(CONTINUED)
 72.

The wind threatens to blow it over on its tiny, lightweight

tripod.

CONOR
Okay, so were playing here, and
Raphina walks past. Then Ill show
you where you can jump off. From
here it will look like youve gone
into the sea.

He shows Raphina and the others a little ledge behind the

wall, where it will appear as though shes dropped into the
sea, but is in fact just on the other side.

RAPHINA
Its not far enough down. Youll
see the top of my head.

CONOR
Youll have to dip your head down
to make it look real.

The others look doubtful, including Raphina.

CONOR
Trust me.

EXT. THE PIER - LATER

They are halfway through another song, miming to playback.

Darren is operating the camera. They all look very gloomy and
introspective; ala The Cure, staring down at the ground, and
barely playing their instruments.

But the song is brilliant. Darren holds up the picture frames

in front of the musicians in separate shots.

Conor stands with his hands in his pockets. Now Raphina

enters frame, walking towards the end of the pier.

She pauses for a moment, and NGIG holds up a picture frame in

front of her as she walks. She is mouthing the lyrics. As she
gets to the end of the pier, she stares out to sea
dramatically. Conor is watching her in the background,
singing.

Then she jumps. But NOT onto the ledge. In fact, she jumps
way past it and into the sea.

For a moment, Conor hasnt seen whats happened. He goes on

singing. But Darren looks up from the viewfinder.

DARREN
(shouting over the music)
Em, I think she went into the sea.
Seriously.

(CONTINUED)
 73.

Conor looks over towards the wall. No sign of Raphina.

CONOR
Shit!

He breaks away from the group and runs over, jumping up onto
the wall.

Down below, Raphina is struggling in the choppy water.

CONOR
What the hell??

RAPHINA
KEEP-BLOODY-FILMING!

CONOR
What?

Behind him, Darren runs with the camera and tripod. He has
heard her, and is rolling. Now the camera is on Conor.

CONOR
Whatll I do?

DARREN
Stop looking in the camera.

RAPHINA
Save me!

CONOR
What?

RAPHINA
Jump in. Itll look great!

CONOR
But my clothes??

RAPHINA
I cant swim!

CONOR
You mean the character or actual
you?

RAPHINA
ACTUAL ME!

She is thrashing around in the water, starting to get pulled

under. Conor throws off his coat and looks towards Darren.
Darren steadies the shot. Gives the thumbs up. Raphina is
shouting for help, off.

Conor dives into the sea. Darren tilts down as he hits the
water. A perfect shot.

(CONTINUED)
 74.

DARREN
YES!

Conor swims over to Raphina who is genuinely starting to

drown, and pulls her towards the ledge. The camera follows.

The rest of the band have gathered on the edge of the pier,
looking down and cheering.

EXT. ON THE WATER - CONTINUOUS

Down below, Conor pulls her onto the safety of the ledge as
she spits mouth fulls of water.

CONOR
Jesus Christ! What were you
thinking?

RAPHINA
(up to Darren)
Did you get it??!!

Darren gives a thumbs up, as he scans back over the shot.

RAPHINA
Fantastic!!

The band laughs.

CONOR
Can you really not swim?

RAPHINA
Nope.

CONOR
Then why did you do that?

RAPHINA
For our art! You cant do things by
half, Cosmo.

He shakes his head, searching her. They are both shivering

and wet. Suddenly, he reaches in, and steals a kiss. She is
silenced by it. Amazed.

CONOR
Sorry... I... Im sorry. That
was...

RAPHINA
Great. Is what it was. Fair play.

CONOR
(happy)
Was it?
What about Evan?
(CONTINUED)
 75.

RAPHINA
Evans just a means to an end.

( SCENE 82 INTENTIONALLY DELETED )

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( SCENE 85 INTENTIONALLY DELETED )

( SCENE 86 INTENTIONALLY DELETED )

( SCENE 87 INTENTIONALLY DELETED )

( SCENE 88 INTENTIONALLY DELETED )

( SCENE 89 INTENTIONALLY DELETED )

EXT. THE PIER - LATER

The gang haul their gear back up the pier. Conor and Raphina
fall back. Raphina is looking out to sea.

CONOR
You know, on a clear day you can
actually see the mainland of
England? Ireland is actually only
30 Miles from the coast of Wales.
It has to have just rained. No dust
in the air. Then you can just about
see it.

RAPHINA
No way. How do you know stuff like
that?

CONOR
My grandad worked on the ships to
Holyhead. He used to bring me out
here. We used to go out on his
little boat. Fishing.

RAPHINA
Wow. So I can wave back to you when
Im in London!

Conors heart sinks. They both stop and look out to sea. The
others carry on.
 76.

INT. THE TRAIN - RETURNING - DAY

The gang returns to the city at dusk; tired and worn out from
all the sea air. The rooftops of Dublin spreading out through
the window. Raphina leans her head against the glass looking
out. Conor sits next to her.

CONOR
My brother says all the great
artists had to get off this island.
The ones who stayed just got
depressed. Or turned into
alcoholics.

RAPHINA
That makes sense. You mention your
brother a lot, dont you? Do you
really love him?

Conor shrugs. Hes never been asked a question like this.

CONOR
Well, hes kind of like my dad in a
way. He seems to be the only one
who cares how I turn out. Like take
music- when we were kids, we shared
a room- and hed play me records
every night. Falling asleep. He
said that way, the music entered
into your subconscious. Hes a bit
mad like that.

RAPHINA
He sounds cool. My dad used to sing
songs to me falling asleep. And it
got so I couldnt fall asleep until
he was back from the pub. Which was
usually after 11. Then hed sit
there on the side of the bed,
singing The Auld Triangle, or
whatever, old mad rebel songs! The
smell of drink, and Id fall asleep
with the music.
(beat)
Always had trouble sleeping since
he died.

She smiles.

INT. CONORS HOUSE - DAY

Conor and Brendan sit at the top of their stairs. Down below,
Penny is sitting in the porch, catching the last few minutes
of evening sun. They watch her, her shoulder straps pulled
down a little, a glass of wine poured, and a cigarette in the
ashtray. It is a beautiful, sad image.

(CONTINUED)
 77.

BRENDAN
(watching her)
Look at her. She races home in the
evening to get that last little bit
of sun. She sits there and reads
the evening paper. Shes always
talking about a holiday to Spain.
But he never takes her. This is all
she gets. Then that tall tree
blocks it, and she comes in. I
often wonder what shes thinking
about.

We hold on Conor, watching his mother.

EXT. SYNGE STREET SCHOOL YARD - ANOTHER DAY -

Conor walks with the band through school. He is wearing

massive sunglasses and a porkpie hat. The rest of the band
are a little ABC. Outside his class, they disperse, back to
their individual classes. Conor joins his queue. Barry is
waiting with the rest of the class to get in. He laughs at
Conor.

BARRY
I hear youre in a band now. What
are they called? The queers?

A few lame laughs from the group.

CONOR
Good one, Barry. Is someone getting
these down? You know who youre
like, Barry? Oscar Wilde.

BARRY
What class is he in?

Conor shakes his head. Some people laugh at Barry. Another,

bigger kid, standing with some fifth formers, overhears this.

BIGGER KID
Hes not in school, Barry, you
spanner.

BARRY
Wha?

BIGGER KID
You spa.

The crowd laughs. Barry is not used to this.

BARRY
Im going to kill you some day, do
you know that?

(CONTINUED)
 78.

CONOR
No youre not. Because you dont
even exist.

BARRY
What?

Barry comes up close to him. This time, Conor stands his

ground. A small group is gathering.

CONOR
Youre living in my world, Im not
living in yours. Youre just
material for my songs.

BARRY
Be careful what you say now, youll
get a battering.

CONOR
Go ahead Barry. Beat me up while
you still have the power. This is
the best year of your life. But
itll all come crashing down when
you leave school. You only have the
power to stop things. But not to
create.

He turns. Barry doesnt stop him. Its a minor triumph for

the little man. Conor joins the back of the group, on his
own. Barry makes a wanker gesture with his fist.

This bomb is diffused, but the battle is far from over.

INT. SYNGE STREET SCHOOL CORRIDOR - ANOTHER DAY

Conor is excitedly leading Darren and Eamon down a corridor

towards the notice board. Theres a poster for the END-OF-
TERM disco.

End of Term disco. School hall Fri

15th. DJ and lights! Tickets 2.

EAMON
So?

CONOR
I say we ask if we can play at it.
Our first gig!

DARREN
When is it?

CONOR
Three weeks.

(CONTINUED)
 79.

EAMON
Were not ready.

CONOR
We could be. We need a deadline.
Something to prepare for.

EAMON
We have exams next week. I need to
prepare for that.

CONOR
Theyre mid term exams. They mean
nothing.

EAMON
They do to me Ma. She wants me to
go to college an all. Get
qualifications.
Will there be girls at the disco?

CONOR
Yes!

EAMON
I say we do it.

CONOR
Weve got five songs. We need a
half hour set. So three more...

INT. CONORS BEDROOM - NIGHT

Conor is working away with an acoustic guitar and notebook

and pen. He writes lyrics, trying them out.

CONOR
Well the bootss on the other foot
now, Look alive were taking you
down. Your curtains falling, take
a bow.

As he plucks away on the acoustic, his composition is

interrupted by raised voices, off.

ROBERT
(off)
Well youre sure as hell not moving
in here with him!

PENNY
(off)
Its my mothers house!

(CONTINUED)
 80.

ROBERT
(off)
Ive been paying a mortgage on this
house for fifteen years. I must own
some part of it by now!

PENNY
(off)
You came into this relationship
with nothing but a bicycle and a
raincoat! And youve never had
anything. My mother was right!

ROBERT
(off)
Oh give me a break. Go to his
place. Go on, piss off.

INT. CONORS HOUSE - HALLWAY - NIGHT

Conor sets out into the corridor. His mother is filling a

large suitcase in the hallway below from her wardrobe. Robert
is standing with his arms folded, watching her.

Conor looks up at Brendans attic door. It is closed.

INT. BRENDANS ROOM - MOMENTS LATER

The two brothers sit in Brendans room listening to a popular

80s tune. This drowns out their parents rowing.

They are laughing, and having a good time, air guitar and air
drumming.

BRENDAN
People sort of laugh at this chap,
but hes actually the dogs
bollocks!

Conor looks at the album cover.

INT. CONORS BEDROOM - MORNING

Conor wakes up on a Saturday morning. We hold on him

overhead, as he lies there, considering his lot. He finally
pulls himself out of bed and exits.

INT. CONORS HOUE - HALLWAY - CONTINUOUS

Conor is greeted by a MAN (40s) directly outside his door,

who is measuring the corridor with a tape, taking notes in
his pad.

(CONTINUED)
 81.

CONOR
Who are you?

MAN
Im with the surveyor.

CONOR
Oh.

MAN
Can I do your room now?

Conor shrugs, heading down stairs.

INT. CONORS HOUSE - LIVING ROOM - MOMENTS LATER

Conor enters the living room. Penny and Robert are going
through paper work.

CONOR
Whos the guy upstairs?

ROBERT
Hes from the surveying company.
Were having the house evaluated.

CONOR
You mean, sold?

PENNY
No, I dont mean sold. Were having
it valued. It might be a good time
to sell it and downsize.

CONOR
Are you people going your separate
ways?

PENNY
What is this You People? And
Robert and Penny? What ever
happened to Mum? How was your
day, MUM, or You look really
stressed, MUM or I Love you,
MUM.

She looks like she might cry. Conor is sort of surprised.

PENNY
That might be nice.
What is wrong with kids who wont
call their mother MUM.

CONOR
A lot is wrong! Look at us. Were
lunatics who can hardly leave their
bedroom.
(MORE)
(CONTINUED)
 82.

And wimps who cant defend

themselves in school. With parents
who cant stop arguing for twenty
years. Were far from normal.

ROBERT
Shut up, Conor. Theres people in
the house.

In the background, through the window, a FOR SALE sign is

erected. Conor points at it.

CONOR
Oh look. A For Sale sign.

ROBERT
(bluffing)
Were testing the market.

Conor gets up, annoyed, heading out.

CONOR
Im going to band practice.

ROBERT
Oh, about that. Its great that
youre doing something
extracurricular, but dont you have
end of term exams soon?

CONOR
Yeah. So?

ROBERT
Shouldnt you be spending your
weekends doing revision?

CONOR
THIS is school.

He walks out.

EXT. CONORS HOUSE - MOMENTS LATER

Conor marches past the For Sale sign, and off up the street.

INT. EAMONS LIVING ROOM - DAY

Conor and the band finish off a song. In a moment, Eamons ma

enters.

EAMON
What, Ma!? Were working.

(CONTINUED)
 83.

EAMONS MUM
Mr. Griffen from next door has just
been rushed into hospital this
morning. He had a heart attack.

EAMON
So?

EAMONS MUM
So, youll have to stop playing.
Theyre all inside.

EAMON
But were in the middle of writing
a song! We have a gig.

EAMONS MUM
Eamon! Theyre just back from the
hospital! Show some respect. It was
probably this racket that gave him
the heart attack in the first
place.

EAMON
Thats a mean thing to say.

She exits. They look at each other, shrugging.

INT. SYNGE STREET - ART CLASSROOM - DAY

Lads filter out of Miss Dunnes art class. Miss Dunne calls
Conor back as he goes.

MISS DUNNE
Hows that band of yours going,
Conor?

CONOR
Oh, Good, Miss. Well, yeah. Okay.

MISS DUNNE
When are we going to hear yiz play?

CONOR
Well we were going to play at the
end of term disco, but now weve
lost our rehersal space.

MISS DUNNE
Thats a bit shit. What about
asking Brother Baxter? Theres
loads of vacant rooms here.

CONOR
He hates me. So I asked Brother
Byrne for the P.E. Hall, but he
said no.
(CONTINUED)
 84.

MISS DUNNE
Freaking Brothers. Theyve driven
this school into the ground. You
know theyre almost outnumbered
now?

CONOR
No?

MISS DUNNE
Yeah. Theres half us lay teachers
now. And rising.
(beat)
One day...
(beat)
Why dont you use here?

CONOR
What?

MISS DUNNE
Its my classroom, isnt it?

CONOR
Thatd be amazing, miss.

She walks him out.

MISS DUNNE
Let me look into it.

She winks, returning to her work. Conor exits with a smile.

MISS DUNNE
But ye better be good now!

CONOR
(pausing)
We are.

He heads out.

INT. SYNGE STREET EXAM HALL - DAY

Conor takes the mid-term test. An exam supervisor stands at

the top of the hall looking at his watch.

SUPERVISOR
And...begin.

The swish of a hundred students opening their paper. They

start to write. We focus on Conor reading the questions. He
is baffled by them.

Scattered about the hall are the rest of the band, scratching
their heads and shrugging their shoulders to each other, as
everyone else is writing.
(CONTINUED)
 85.

We see that Conor has given up, and is writing lyrics in his
journal instead.

INT. SYNGE STREET ART CLASSROOM - DAY

The band finish a song in the classroom. They are sounding a

lot better than before. In fact, they are tight. And Conor is
more and more confident at the mic.

CONOR
So Ive got an idea for another
video. Whos free on Saturday?

NGIG
Sometimes I think youre only
shooting these videos so you can
see your one. The chick.

CONOR
No Im not.

The others laugh in agreement. We know he is right.

CONOR
Shut up! Let me tell you what
happens.

EXT. SYNGE STREET - RAPHINAS HOUSE - NIGHT

Conor walks up the steps to Raphinas door. As he does so,

the front door opens silently, and Raphina sneaks out,
carrying an overnight bag. She closes the door silently,
bumping into him with a yelp. He laughs.

RAPHINA
Jaysis! Shh.

CONOR
What are you doing?

RAPHINA
Sneaking out. She thinks Ive gone
to bed already. Come on!

She drags him down the stairs and around the corner,
giggling, under a tree.

CONOR
Where are you going?

RAPHINA
(evasive)
Just out for the night. What are
you doing here?

(CONTINUED)
 86.

CONOR
Oh. Were shooting another video.
This Saturday. In the school. But
its a really big one. Weve got
extras coming, from the girls
school and everything. Its going
to be amazing.

RAPHINA
Sounds epic. Ill try to come.

CONOR
You have to come! Ive got the
whole video working out in my head.

From down the street, the Ford Granada pulls up outside

Raphinas house. Evan is sitting in the driver seat. He
doesnt see them around the corner. Conor looks at the car.
Then at Raphinas overnight bag. Gets it.

CONOR
Come on. Lets go. You dont need
to be with him.

RAPHINA
How else do you expect me to get to
London? Hes connected. And he has
money.

CONOR
Whats so special about London?
Jesus. Its just there! Its not
like all your problems are going to
go away because youre in England!

RAPHINA
Shut up now, and dont be getting
jealous. Leave it. This has been
nice.

CONOR
Just lets go. Well think of
something.

RAPHINA
Youre a kid. Dont be crazy. If
were not gone, then Ill swing by
Saturday. Okay? Love ya.

She smiles.

She runs off. Conor watches as she jumps into the car and it
speeds off. We hold on Conor.
 87.

EXT. SYNGE STREET SCHOOL - DAY

Conor exits the school, carrying his report card in his hand.
Other kids study theirs. He meets Eamon, who is looking at
his at the school gate. Darren joins them.

CONOR
Did you do as badly as me?

He shows Eamon his card.

Fail. Fail. Fail.

DARREN
I failed too.

EAMON
Shit. I scraped a pass.

CONOR
Well done!

CONOR
My ma is going to kill me. What are
you going to say to yours?

CONOR
I havent thought about it yet...

They walk out. In the background, Barry tears his report card
in half and throws it away without even reading it. He then
boxes another kid in the face and approaches Conor, Eamon and
Darren.

He reaches in his school bag and takes out a homemade knife.

A metal bar with a plastic scalpel welded it to it.

BARRY
I made this in metal work class.
What do you think? And you said I
couldnt create anything?

Conor is silent. It looks gnarly, and lethal. Barry smiles.

BARRY
And Im going to mark you with it.
One of these days. And you wont be
so handsome then. In your little
band.

Conor looks at it, then at Barry.

CONOR
Why are you targeting me, Barry?
What did I do to you?

BARRY
I dont like you.
(CONTINUED)
 88.

CONOR
Is it because your brother beats
you up? And youre taking it out on
someone else. Like that day down
the laneway?

BARRY
(laughs)
Thats not me brother. Thats me
da. What are you saying about me
da?

He leans in, laughing menacingly, raising the knife to

Conors face. A millimeter from his mouth.

Just then, Brother Baxter appears out of a doorway behind

them.

Barry quickly pockets the knife, before Brother Baxter sees

it.

BROTHER BAXTER
Whats going on here? Is there a
problem, Lawlor?

CONOR
No, Brother.

Brother Baxter just turns and re-enters his office, closing

the door. Barry is as surprised as the rest of them. He looks
around, then skulks off.

BARRY
See you around.

We hold on Conor.

INT. SYNGE STREET ART CLASSROOM - DAY

About ten local teenage girls sit on desks. Ten boys stand
around the classroom. Theyve turned up to be extras.

A number of tables have been turned upsidedown to make a

small stage. On this, the bands gear has been set up. Garry
checks his drum kit on stage. Miss Dunne is hanging
decorations up, including a disco ball. Darren is moving
about with the camera, looking for shots.

Across the room, Miss Dunne checks her watch.

MISS DUNNE
So youd better film something. I
have to lock up in an hour.

DARREN
Yeah. Shes not coming. Lets do it
without her.
(CONTINUED)
 89.

Conor reluctantly agrees. He gets up on stage.

DARREN
So, all of you come and stand here.
You have to pretend its a live
gig. And youre the audience.

CONOR
Okay, so everyone. This is like a
school video. But not like an Irish
school. More like an American
school. And its the prom night.
Well rehearse it.

He presses playback, and the band mime. Conor sings into a

microphone. But his eyes are on the door. We hear the first
verse. The band are really coming along. Conor is really
developing some stage presence.

Again, he looks towards the door. But this time... it opens.

Raphina is coming through. But shes dressed up in an
amazing, 1950s style prom dress. As she enters, we start to
notice that we are not in the classroom anymore. We are in a
huge school hall. Its prom night in a big, American school.

Conors band are transformed on stage. All wearing cool, 50s

clothes.

In this video, Conors parents will arrive, all dressed up

and happy together to see their son on stage. Brendan shows
up, like Jimmy Dean in Rebel Without A Cause, and makes a
fool of the bungling Brother Baxter. And Conor will defeat
the evil Barry, who is dressed like the lead Scorpion in
Grease.

Then the ENTIRE audience start a choreographed DANCE

sequence, which brings us out.

We pull out from the view finder, and find ourselves back in
the mean little classroom in Dublin. The group is huddled
around the view finder. Theres no sign of Raphina. Its all
been in Conors head.

DISSOLVE TO:

( SCENE 107 INTENTIONALLY DELETED )

( SCENE 108 INTENTIONALLY DELETED )

( SCENE 109 INTENTIONALLY DELETED )

( SCENE 110 INTENTIONALLY DELETED )

 90.

EXT. CONORS HOUSE - AFTERNOON

Conor returns home. He pauses at the door, looking at his

report card. He enters.

INT.CONORS HOUSE - HALLWAY - CONTINUOUS

As Conor enters the hallway, he is met by his mother coming

down the stairs.

CONOR
So before you get angry...

PENNY
Oh good, there you are.
(calling)
Hes back. You get Bren.

ROBERT
(off)
Okay.

PENNY
We want to chat to you both.
Kitchen. Two minutes.

She passes.

INT. CONORS LIVING ROOM - DAY

Conor, Penny and Robert sit around the table in the kitchen,
as they did a few months ago. Waiting. In a moment, we hear
Brendan running down the stairs. He enters, carrying all his
smoking and drinking shit.

BRENDAN
Pray begin.

He sits down.

ROBERT
Well. So, firstly, we dont want to
make a big deal about this. Lots
of married couples-

PENNY
Your father and I are splitting up.

BRENDAN
(getting up)
Thank you! Knew it was just a
question of time. Let me know when
were moving. Ill be packed.

(CONTINUED)
 91.

ROBERT
Why dont you sit down Brendan, for
a second, and well tell you what
were thinking. See if you agree.

BRENDAN
Oh. A consensus? Well thats novel.
Go ahead.

He sits down. We push in on Conor for the following.

ROBERT
So your mothers fallen in love
with Tony. And theyre going to
move into his apartment for a
while. We got an offer on this
house- its half what its worth,
but were going to take it. I cant
afford to stay here on my own.

CONOR
So are you, like, getting a
divorce?

PENNY
No, you cant get divorced in
Ireland. Well be legally
separated. Its better for
everyone.

ROBERT
Ill get an apartment, and you guys
will live between there and...
there.

BRENDAN
I wont be staying in Tonys. Lets
get that very straight. Id rather
sleep on the street.

Brendan seems unusually angry. Even twitchy.

ROBERT
Well talk about all the details.
Tonys a very nice man. I can vouch
for that.

This is very hard for him to say. Penny is surprised.

PENNY
(almost silently)
Thank you.

BRENDAN
Wow. Look at you two. This is the
first time Ive seen you being nice
to each other in ten years!

(CONTINUED)
 92.

He lights up a cigarette, raising his eyes to heaven.

CONOR
Maybe hes right. Maybe this is
what you needed to do, you know, to
get back. Closer than before.

Everyone looks at Conor. Suddenly seeing how young he is. And

how vulnerable.

CONOR
You dont love Tony. You hardly
know him. You got that job a few
months ago. Its just an excuse. A
way of ending this relationship
because you dont know how to keep
it together.

ROBERT
Now Conor. You dont know what
youre talking about.

He gets up and exits, slamming the door. After a moment,

Brendan gathers his stuff and exits, shaking his head,
leaving the parents sitting there on their own.

INT. BRENDANS ROOM - MOMENTS LATER

Brendan enters his room to find Conor sitting on the hammock.

Brendan sets his stuff down.

CONOR
So you were right.

BRENDAN
It was obvious.

CONOR
Theyre our parents. Theyre
supposed to look after us. So we
can do stuff.

BRENDAN
Thats bullshit. Theyre just human
beings. I told you that.

CONOR
I was sort of hoping theyd come to
my gig on Friday.

BRENDAN
What? You thought theyd suddenly
become different people? And start
noticing what you were doing? Or
wanted? They have their own shit
going on. Theyre not going to come
to your stupid gig.
(CONTINUED)
 93.

This is not the usual Brendan.

CONOR
Why is it stupid now?

BRENDAN
Its not that its stupid. Its
that its annoying.

CONOR
What is wrong with you?

BRENDAN
I dont know! Im having
withdrawal.

CONOR
From what?

BRENDAN
From hash. I havent smoked in two
days.

CONOR
Why?

BRENDAN
So I can do something with my life!

CONOR
Like what?

BRENDAN
Look at you. You little punk. You
know nothing, do you? Youre the
youngest. You get to follow the
path that I macheted through the
jungle that is our mad family. They
took all their shit out on me. I
got bitten by every insect, and
snake. And fell into every river.
For six years I was alone with
those two. You think theyre mad
now, think what they were like when
they were in their late twenties
with a screaming baby in a rented
flat who got married because they
were two Catholics who wanted to
sleep with each other. They didnt
even love each other. And I was in
the middle of that. On my own. And
then you came along, thank God, and
followed the trail I cut for us.
You just moved in my jet stream.
Untouched. And people laugh at me
now. At the stoner. The college
dropout. And praise you.
(MORE)
(CONTINUED)
 94.

And thats fine. But once, I was a

fucking jet engine.

On this, he takes a pile of Vinyl off the shelf and flings

them across the room smashing them.

Conors eyes are glazing over.

CONOR
Ill just be back in a second. I
have to go to the toilet.

He exits.

INT. CONORS HOUSE - TOILET - CONTINUOUS

Conor cries his eyes out in the toilet.

EXT. CONORS HOUSE - MORNING

Darren rings on Conors bell. In a moment, Conor answers. He

is wearing his pyjamas.

DARREN
You cant run away from this, you
know that? You have to face him.

CONOR
Hell kill me.

DARREN
Yeah. But youre just kicking it
down the line. Come on. As your
manager Ive let you down. I
havent solved this problem. I
cant sleep.

He walks off.

EXT. A BLOCK OF COUNCIL FLATS - DAY

Conor follows Darren up the steps to the fourth floor of a

block of flats. They walk past numerous doors, stopping at
one.

DARREN
Now, leave this to me.

He knocks. In a moment, Barry opens the door. He is very

surprised to see these two. From inside, the sound of the
TV.

BARRY
What do yous want?

(CONTINUED)
 95.

CONOR
We want to talk to you.

VOICE (O.S.)
Who the hell is it?

BARRY
(re Conor)
Get him away from me door, Im
going to kill him.

DARREN
No youre not, Barry! Because he
had a chance to rat you out the
other day, and he didnt. He made a
choice.
(beat)
You think youre different from us.
From everyone. And you are. Youre
nuts! But we have one thing in
common, you, me and him. (Meaning
Conor).

BARRY
No we bleedin dont. Hes a queer,
and youre a fag, probably. Because
who else would hang around with a
queer, except a fag.

DARREN
Do you want to know what it is?
(beat)
Were all shit at school. Weve all
failed these exams, and well be
out of school next year. Were
bleedin useless!

Silence. Barry doesnt disagree.

BARRY
So?

DARREN
So what are you going to do when
youre kicked out of school? Stay
at home with your Ma and Da? Get
wasted? Watching daytime telly?

BARRY
Okay.

BARRYS DA
(off)
Barry? Who is it, son?

DARREN
Well were going to be in a band.
Gigging. On the road.
(MORE)
(CONTINUED)
 96.

Different venues each night.

Different women. A bleedin band!
And do you know what bands need?

BARRY
What?

Darren leans in.

DARREN
Roadies.
(beat)
Someone who is strong, and knows
how to fight! Protect themselves,
and the lads. And carry gear.

BARRY
Are you talking about me?

DARREN
Why not? Youd be great at it.
Youre tough. Ane youre off your
head.

He thinks about him. His Da screams, off

BARRYS DA
(off)
Barry! Get in here and get me
another bottle. You worthless
shite.

BARRY
Im a worthless shite. What would
you want with me? In a fag band.

DARREN
A band is like being in the army.
Everyone has everyone elses back.
Fag or not. Think youre up to it?

BARRYS DA
(off)
Where are you, you lazy prick? Do
you hear me? Get in here and get us
a bleedin bottle!

BARRY
Hold on a second.

Barry disappears for a moment. Darren and Conor exchange

looks. We hear a SMASH from inside. Followed by a groan. His
father is silenced.

In a moment, Barry reappears. He has a broken bottle neck in

his hand. And some blood on it. He chucks it away, as we hear
groans of his father, off.

(CONTINUED)
 97.

BARRY
Could I drive the van?

CONOR
We dont have a-

DARREN
(elbowing him)
Of course youll drive the van!
When we get one.

Barry exits, grabbing his jacket, and pulling the door behind
him.

BARRY
Come on.

DARREN
We have a gig this Friday. Are you
free? Ive got a fiver for you for
it. You can do the lights.

EXT. THE FLATS - CONTINUOUS

They set off, away from Barrys house, Barry following behind
in between them. Conor and Darren exchange a smile of
surprise. The bomb has finally been diffused.

EXT. SYNGE STREET SCHOOL - DAY

The three of them arrive at school. As they cross the road,

Conor looks over his shoulder towards Raphinas house.
Theres a YOUNG GIRL walking back towards the house carrying
a bottle of milk. Shes been looking at them. But she quickly
looks away. We think we recognize her. But were not sure.
Conor double takes, then breaks away from the lads and runs
towards her as she runs up the steps.

CONOR
Hey. Wait.

But the girl hurries up. Conor catches her up. Spinning her
around. It is Raphina. But a much younger looking Raphina,
wearing a dowdy jumper, stone washed jeans and trainers. Her
hair hasnt been back-combed. Shes wearing no make up. She
looks like a kid.

RAPHINA
Wha?

CONOR
Is it you?

RAPHINA
Who?

(CONTINUED)
 98.

CONOR
Raphina?

RAPHINA
Im not Raphina. Im her younger
sister.

CONOR
No youre not. What are you doing?
I thought you were in London?

RAPHINA
My sister? Yeah, shes in London.
Getting on great.

She walks on. Conor follows, spinning her around. She stares
him in the face, finally giving up.

INT. THE LITTLE PARK - DAY

Conor and Raphina sit on a bench. She really does look

different. Without the war paint and clothes, shes lost
something of herself.

RAPHINA
...it was a mad idea anyway. I
dont know anyone in London.

CONOR
I thought he had booked tickets?

RAPHINA
No. It was all just an act. To get
a ride like. He doesnt have a flat
there. Or friends. Or any of that.

CONOR
So where is he now?

RAPHINA
(ashamed)
I dont know. He left me in a B&B
in town. Ive been trying to ring
him. Im like me Ma.

She blushes a little.

CONOR
So what are you going to do now?

RAPHINA
I dont know. I was going to print
up some CVs. But I havent done
anything. Except your videos. So I
dont know where to start.

(CONTINUED)
 99.

CONOR
CVs for what?

RAPHINA
I dont know. McDonalds have an ad
in their window. Would you still
fancy me if I was saying Do you
want chips with that?

CONOR
Id fancy you no matter what, as
long as you were happy.

RAPHINA
Oh shut up, you sap. You make me
sick. I dont know what Im doing
half the time. I live in a dream
world. Whos going to put me in an
ad? Or the cover of a magazine? Im
telling you- Im like me Ma,
thinking like that. Theres
something wrong with me.

She hits her head, her eyes filling with tears.

CONOR
Theres nothing wrong with you. But
you have to follow one dream at a
time. I was actually happy I
thought you were in London. Even
though I was jealous. And I missed
you.
(beat)
I have to go now. I have a gig to
rehearse for.

He gets up. She looks at him. Then gets up and they both
wander back.

RAPHINA
Tell me about that...

CONOR
Its our first gig. At the school.
Will you come?

They chat as they wander off. We CRANE UP.

INT. CONORS BEDROOM - NIGHT

Conor sits down and picks up pad and pen. He thinks about
what he wants to say. Then writes down

TO FIND YOU.

He starts writing a first verse.

 100.

EXT. EAMONS HOUSE - DAY

Eamon opens the door to his house. Conors is outside, with

his journal of lyrics.

CONOR
Want to write a song?

EAMON
(smiling)
Always.

He enters.

DISSOLVE TO:

INT. BRENDANS ROOM - DAY

Conor knocks on Brendans room. Brendan is just sitting

there. The window open, looking out.

CONOR
Hi. Im off to school. Got that gig
tonight.

BRENDAN
Excellent. What time?

CONOR
Starts at 9.

BRENDAN
Okay. Ill see you there, probably.
Is your girlfriend going?

CONOR
Shes not my girlfriend. I dont
know. Shes totally unreliable. I
might try and get a new girlfriend
tonight. If the gig goes well like.

BRENDAN
You know I was in a band once?

CONOR
Really.

BRENDAN
Oh yeah. We never got to play a
gig. But we practiced for about a
summer. It was really just an
excuse to get high with your
friends.
But we werent half bad. I wrote
some pretty good lyrics.

(CONTINUED)
 101.

CONOR
What happened?

BRENDAN
Ah, parents. Mum always wanted me
to be a doctor. Or a lawyer.

He shakes his head.

BRENDAN
You should be glad they dont give
as much of a damn about you.

CONOR
Maybe thats what youll do.

BRENDAN
When?

CONOR
When you get off your arse. Re-form
a band? Write some lyrics.

INT. CONORS HOUSE - KITCHEN - DAY

Conor passes through the kitchen. Penny and Robert are eating
breakfast and reading the paper. Conor grabs a slice of toast
and his school bag and goes to exit.

CONOR
Oh, Ill be late tonight.

Neither of his parents look up.

CONOR
School gig.

PENNY
Okay. What time is it at?

CONOR
Were on at around 9. Are you
coming?

PENNY
Ohh. I might be busy. A work do.
Ill try and get out of it.

CONOR
Cool. Dad?

ROBERT
Where is it at?

CONOR
At school. Its a school gig.

(CONTINUED)
 102.

ROBERT
Oh yeah. Okay. Ill try.

Conor smiles, happy. He exits.

EXT. CONORS HOUSE - DAY

Music over.

Conor exits his house. He looks up at a SALE AGREED sign in

his garden. He is carrying an envelope. He stuffs it into his
jacket and gets on his bike.

EXT. STREETS - DAY

Music over, as Conor cycles through streets.

RAPHINAS STOOP - DAY

Conor drops in the envelope through Raphinas door.

EXT. SYNGE STREET SCHOOL - NIGHT

People arrive for the school disco. They enter the gym hall.

INT. SYNGE STREET SCHOOL - GYM HALL - NIGHT

A DJ plays music. There are a few colored lights. Gangs of

teenagers assemble in groups. No one dances. Brothers and
teachers supervise things. On stage, the bands gear is set
up.

INT. BACK STAGE - NIGHT

Behind the stage is a little changing area, where our boys

are assembled. They are dressed up. Conor wears pretty funky
makeup. They nervously check behind the curtain.

DARREN
Its filling up lads. Theres
chicks from Saint Annes, Notre
Dame. And St. Louis!

This just makes the band more nervous. All except Eamon, who
sits on a desk, his guitar strapped on practicing. Conor
notices that hes quiet. He approaches.

CONOR
You alright?

(CONTINUED)
 103.

EAMON
Yeah bro. Im good.
(beat)
Showed me Ma me test results.

CONOR
Oh yeah? What did she say.

EAMON
She killed me! Have to get the
marks up by end of year. Gotta
leave the band.

CONOR
Really?

EAMON
Das not coming out for a while. I
have to help take care of things.
Shes on the dole. She cant
manage.

CONOR
But we cant break up. Maybe if we
just practice once a week.

EAMON
Nah. If we were to do it we should
do it properly.

CONOR
Youre too good not to do this.
This was your dream, right? Be in
a band? Write music? Get out of
Dublin?

EAMON
Maybe later. After school or
whatever. Ill still play. And
write and stuff. But I have to
focus on school and jobs. I cant
afford to have that dream right
now.

Conor understands.

GARRY
(o.s.)
So whats our set list?

EXT. SYNGE STREET SCHOOL - NIGHT

More and more kids show up. Kids of all ages. Some of them
drunk.
 104.

INT. SYNGE STREET SCHOOL GYM - NIGHT

Things are turbulent in the school hall. Brothers and

teachers have a tough time keeping things under control. A
few local skinheads have shown up, drinking bottles of cider.
Girls have started kissing guys.

On stage, a fifth former (17) speaks into a microphone as the

DJ turns down the music.

FIFTH FORMER
Okay. So now, some live music.

No one claps. Except Miss Dunne, who is there with her

boyfriend, a man in his late thirties. They are drinking
orange juice.

The band take to the stage. Conors look gets laughs: hes
wearing a dress and heavy makeup. A few Faggots from the
crowd, etc. Conor begins a riff.

CONOR
Hello Dublin. We are Sing Street.
From Dublin.

CROWD
(collectively)
BOO!!!!!!!

THUG VOICE
Faggot band!

CONOR
Dad, you shouldnt have come if
youre going to slag us.
(beat)
This is called Words.

The band crash into their first song, a lively, up-tempo

stomper.

Cosmo is transformed on stage. Hes stepped outside himself.

Hes carefree and confident with the microphone, and his
weeks of rehersal have paid off. The band is tight.

Miss Dunne is delighted. The other teachers arent so sure of

the angry, passionate performance and risqu lyrics, as the
crowd begrudgingly starts to come around, gathering at the
front of stage.

Barry is working their backline. Darren winks at him.

The play through their first song passionately, and it ends

to some applause, mostly from girls.
 105.

INT. RAPHINAS HOUSE - EARLIER

Raphina opens the envelope Conor dropped in, and puts the
tape into her machine. Through her window, Conor jumps on his
bike earlier that afternoon, and cycles off. She presses
play.

INT. SYNGE STREET SCHOOL GYM - NIGHT

Back at the hall the band are well into their gig. They are
sweating, and ending a song to applause. Conor changes out
of his dress -- hes wearing a school uniform underneath.

CONOR
Thank you. Heres one called I
will Find you Its a slow song.

The crowd boo. The rest of the band shake their heads. The
band have an unplanned discussion on stage, off mic.

NGIG
Were not doing a bleedin slow song
at a gig! Are you mad?

CONOR
No?

GARRY
They love us. Well totally blow
it. And we havent rehearsed it
properly.

CONOR
But its a great song. And its
really simple. And itll test our
audience. Girls will love it.
Eamon?

They all look at Eamon.

EAMON
Its a bold move. Lets do it.

Eamon takes a seat by the piano.

CONOR
This is a slow song. Anyone ever
had a girlfriend for a day? Then
thats it?

Lots of rowdy shouting from the crowd. This is turning into a

proper gig.

CONOR
What is that about? Anyway. This is
called I Will find you.

(CONTINUED)
 106.

He begins a mid tempo song. Its beautiful. Soulful yet

forceful. We hear the first verse.

INT. RAPHINAS ROOM - EARLIER THAT DAY

Raphina is listening to the music. It is the same song he is

playing live at the gig. She is dressed as we saw her
earlier, hair in a pony tail, no make up, sensible jeans and
jumper.

The song is an address to her to follow her dreams. About

being who youre supposed to be. That she must at least find
out if she could have made it as a model. And made it to
London.

INT. OFFICE - NIGHT

Music plays over

Penny is making love to A MAN (45), on the couch in an

office. She is smiling and happy.

INT. CONORS HOUSE - LIVING ROOM - NIGHT

Music plays over.

Robert is sitting in front of the TV with a sandwich and a

glass of whiskey. He is watching violence on TV from Northern
Ireland.

INT. BRENDANS ROOM - NIGHT

Music plays over.

Brenden enters his room. Restless. He is trying on his jacket

to go out. Looks in the mirror. The song from the gig still
playing over. He checks his watch and looks at his guitar and
smiles. Picks it up, sits back and strums it. Blows some dust
off it. Tunes a string. Then gives up. Crosses the room, puts
the needle onto the vinal. Picks up his hash paraphernalia
and begins rolling a joint on the back of the guitar, tapping
his feet to the music. Takes off his jacket. Hes not going
anywhere.

EXT. THE PARK - NIGHT

Raphina sits on the bench listening to the same song Cosmo is

playing live. Shes been listening over and over. Shes
smiling and crying at the same time. It is a call to her from
someone who really cares about her.

(CONTINUED)
 107.

LYRICS
I got to find out who Im meant to
be. I dont believe in destiny. But
with every word you say to me...
somethings going to change...

We hold on her, eyes full of tears.

INT. SYNGE STREET SCHOOL - GYM - NIGHT

Back on stage, they have lost most of the crowd. Many are
outside the windows, smoking. Others in groups chatting. Only
a few GIRLS have stayed put, looking up adoringly at the
young band.

Now, at the back of the hall, the door opens, and Raphina
steps in out of the cold.

But shes OLD RAPHINA again. The hair is done, the make up.
And shes dressed in a cool skirt, doc boots, and jacket. She
cant believe what shes seeing. Conor, is singling with his
eyes closed. She smiles, walking through the hall towards the
stage. Conor sees her and smiles, singing the last verse to
her. She stands at the front of stage looking up at him.

LYRICS
So bring the thunder bring the
lightening, bring the fall. I know
Ill get my heart through. Ive
miles to go, but since the day I
started crawling I was on my way to
find you.

They finish to applause. A SKINHEAD tries to get up on stage

but Barry, who has been standing, arms folded like a
bodyguard, punches him off the stage.

CONOR
Okay. This is our last song. Its
about this school. Its for Brother
Baxter.

People hoot and whistle. Brother Baxter, who stands at the

back of the hall is not impressed. He signals to another
Brother to turn on the hall lights.

Florescent lights blink on, ruining the dark, cavernous

atmosphere.

The crowd collectively BOO. One of the skinheads turns them

off again. The crowd cheer.

On and off again. Things are getting chaotic. The crowd is

getting pissed.

(CONTINUED)
 108.

The Brother turns them on again. Then the skin head turns
them off, then takes a fire extinguisher and smashes it down
on the light switch, ensuring they stay off.

Brother Baxter is making his way towards stage. He stands at

the side of the stage, gesturing for Cosmo to come over.

Conor heads over, leaning down.

BROTHER BAXTER
Lad, dont push it.

CONOR
What? Its a tribute song.

BROTHER BAXTER
If you want to keep this band going
next term youd better be careful.

CONOR
Oh. Okay.

He goes back onto stage.

CONOR
(to Eamon)
You ready? This may be all of ours
first and last gig man. You ready
to do it?

EAMON
Lets go!!

CONOR
And you better come back to this
after school. Youre a bloody
genius man!

Eamon laughs.

CONOR
(shouting, into mic)
This is called Brown Shoes. Its
for every Christian Brother, and
for every bully you ever knew.

Larry starts with a thumping bass lick.

Eamon and Garry join in. Conor approaches the mic, singing
angrily

CONOR
Who the hell are you, to tell me
what to do... you wear a dress and
tell me not to wear Brown Shoes..?

The crowd gets it. They start moshing. An angry guitar riff
soaring over the top line.
(CONTINUED)
 109.

Conor sings a verse about being stabbed by a bully. Then the

chorus:

CONOR
(singing)
Well the boots on the other foot
now, buckle up, were taking you
down. Your curtains falling so
take a bow.

He spots Raphina as he sings, smiling.

CONOR
...yeah youve had your time in
the sun, so step aside its time
for some fun. Yeah the boots on
the other foot, take a bow!

Raphina joins in the dancing. A few people stage dive. The

Skinhead jumps around the room letting the fire extinguisher
off, drenching everyone. They love it. The lights come on
again, adding to the chaos. Cosmo laughs as he screams a
mantra into the mic

CONOR
Brown shoes, Brown Shoes, Brown
Shoes!!!!

Brother Baxter turns and exits, unnoticed.

CONOR
Brown Shoes, Brown Shoes... BROWN
SHOES!!

And the song crescendos into a loud stab. And ends.

The crowd roars. Conor and Raphina fix eyes, laughing.

CONOR
We are Sing Street.

The DJ takes over as the crowd cheer.

INT. SYNGE STREET SCHOOL GYM - BACKSTAGE - CONTINUOUS

Conor and the band get off stage, hugging. Raphina runs over
to meet him. She kisses him. They SHOUT above the music and
crowds.

RAPHINA
You look great!!

CONOR
So do you!

RAPHINA
You guys were brilliant!!
(CONTINUED)
 110.

CONOR
Really? Shit. Because I have to
break the band up!!

RAPHINA
What? Why??

CONOR
I failed my exams. And Eamons Mum
wont let him be in a band anymore.
And my parents are selling the
house. So well be moving... So I
wont be able to call in and leave
tapes for you and stalk you!

She shrugs.

CONOR
We should go.

She nods her head without needing to think.

RAPHINA
How?

CONOR
On a boat.

RAPHINA
On the ferry, like? They wont let
us travel. Youre too young! I
mean, Id get away with it. But
youre just a baby.

Hes shaking his head, all this coming to him like a bolt
from the blue.

CONOR
No. We borrow a boat. From Dalkey.
Its 35 Miles. How far can that be?
Its like 45 minutes in good
weather.

RAPHINA
You mean steal a boat?

CONOR
Are you ready? Theres nothing
going on here right now.

She thinks about it. They look at each other, wide-eyed.

EXT. SYNGE STREET SCHOOL / RAPHINAS HOUSE - NIGHT

Conor and Raphina run, hand in hand out of the school gates.

(CONTINUED)
 111.

RAPHINA
Do you forgive me? About Evan?

CONOR
Was he any good? At sex?

RAPHINA
Not great.

CONOR
Cool.

RAPHINA
You need to tell me you forgive me?

CONOR
Something tells me Ill always be
forgiving you.

They run on.

She runs towards the steps of her house.

RAPHINA
Two minutes. I need to pack a few
things.

CONOR
GO!

She laughs.

EXT. CONORS HOUSE - NIGHT

They run around the corner and up to Conors house, hand in

hand. Raphina is carrying a bag.

INT. BRENDANS ROOM - MOMENTS LATER

Brendan is writing something in his writing pad, and smoking

one. Conor knocks and enters, followed by Raphina.

BRENDAN
Hey. Whats going on?

CONOR
Shhh. Where are the parents?

BRENDAN
In bed. Why?

RAPHINA
Hi.

BRENDAN
Hey. Youre Raphina?
(CONTINUED)
 112.

She bows.

CONOR
We need your help. Can you drive us
to Dalkey?

BRENDAN
What for?

CONOR
Grandads little pleasure boat is
still moored there. Were going to
sail to England. The two of us.
Were all set. But we need a lift
to the harbour.

Brendan looks at them. They are totally serious. He thinks

about it.

BRENDAN
Sure. When are you talking about?

CONOR
Now.

BRENDAN
What!!? Do you have any friends
there?

CONOR
No.

BRENDAN
Do you have any sterling?

CONOR
No. Not a penny. She has her
photographs. And I have my demo
tapes and videos.

He looks at them, smiling. He puts on his jacket.

BRENDAN
Lets go.

Raphina and Conor smile.

INT. CONORS ROOM - MOMENTS LATER

In a frenzy, Conor throws things in a shoulder bag.

INT. ROBERT AND PENNYS ROOM - CONTINUOUS

Conor sneaks in to his parents room. He tip toes over to the

bedside locker. The car keys are under the lamp.

(CONTINUED)
 113.

He fishes them up silently, and as he does so, looks at his

parents, asleep. Robert is sleeping on the floor beside the
bed. Penny is on the bed, in a shaft of moonlight.

Conor pauses, looking at them, almost smiling. Then his eyes

fill up with tears. They look very vulnerable. He leans in to
his Mum...

CONOR
I love you. Mum.

She repositions herself in the bed. But she doesnt hear him.
We hold on him, smiling.

EXT. CONORS HOUSE - NIGHT

Conor and Brendan pull the tarpaulin off the old car in the
driveway.

The old car reverses out of the driveway. Conor and Raphina
jump in.

INT. THE CAR - NIGHT

Palpable excitement in the car as Brendan drives it south,

out to the sea...

EXT. COLIEMORE HARBOUR - DAWN

The car pulls up to a small jetty. A few old boats bob up and
down in the moonlight. They all get out, carrying their bags
down towards one small pleasure cruiser. Dalkey Island just
across the water.

RAPHINA
Jesus, you were right, its really
close.

She smiles.

CONOR
Its a little bit further than
that.

They approach the hero boat. Its an open boat, with a

steering wheel, and a little tarpaulin shelter area at the
back. Its pretty basic.

RAPHINA
Is that it? Its tiny!

They look out to sea.

CONOR
Nice and calm.

(CONTINUED)
 114.

BRENDAN
You DO know it can get pretty
choppy once you get out past the
island?

CONOR
Well be grand.

He heads. They follow him to the edge of the jetty.

He jumps on board the boat, getting it ready. Brendan and

Raphina stand watching him. He appears to know what hes
doing. Kind of.

He finds a can of petrol in the boat next to it, and steals

it, looking in his own engine.

CONOR
I dont believe it. Theres still
petrol in it. Well take this one
as a spare. Ready?

He pulls the cord. The engine coughs. But doesnt take.

Raphina jumps in, helping him, as Brendan does lookout.

Finally, the engine comes to life, spluttering and coughing

out smoke.

Conor jumps back off, handing Raphina her bag, photographs,

and his stuff. She secures them under the little tarpaulin.

Conor unties the boat from its mooring, throwing the rope on
board.

Then he turns to his brother.

BRENDAN
Call home as SOON as you get there,
okay? No messing around.

CONOR
I will. Well get into the Welsh
coast. Then hitch down to London.
Be there this evening.

BRENDAN
Okay.

CONOR
Youll get some flak from the
parents for driving me out.

BRENDAN
Ill be fine. Im bulletproof.

He smiles. He is far from bulletproof.

(CONTINUED)
 115.

BRENDAN
Oh, here. I wrote some words down.
For a song.

Brendan reaches in his pocket and produces a foolscap of

paper with loads of lyrics written on it.

BRENDAN
Theyre just a stream of
consciousness thing. Its about
this kid and a girl. In the future.
If you get there, put some music to
them some day. Im serious. Could
be a good song.

CONOR
Okay. I will.

Conor takes it and folds it up carefully, and puts it in his

inside coat pocket.

Conor jumps back onto the boat.

RAPHINA
Come and visit us. You seem like a
mad bastard.

BRENDAN
Oh yeah. You look after that
brother of mine. Hes going to be
lost without me.

RAPHINA
Hah! I will.

BRENDAN
And I hope you can swim.

Raphina shakes Brendans hand and hugs him from the boat.

Brendan is getting a little emotional as A SONG starts to

fade up on the track. He hugs his brother one more time. But
this is no time for tears.

Conor steers the little boat out of the harbour. They wave
back to Brendan, who stands on the jetty waving.

EXT. THE BOAT - DAWN

The boat sets out onto the sea. The shelter of the harbour is
immediately met by a strong wind. The song swells...

EXT. THE BOAT - DAWN

The sun is coming up, but a heavy mist is refusing to lift.

The waves are growing in force as the little boat sets off.
(CONTINUED)
 116.

Raphina looks nervous. It starts raining.

INT. THE CAR - DAWN

Brendan watches them from behind the wheel of his car. They
look very vulnerable in the distance, bobbing up and down. He
starts screaming. For no reason. Shouting and screaming and
cheering, looking at the little boat making its escape. In a
way, hes on that boat. The boat disappears around the side
of the island. Brendan smiles, shouting.

EXT. THE BOAT - MORNING

Now its raining hard. The boat is buffeted by waves.

CONOR
(shouting)
Youll want to sit down around now

RAPHINA
(shouting)
WHAT?

In answer to her question, the boat is hit by a good wave,

knocking Raphina over.

She huddles up under the tarpaulin, soaked.

Conor steers the boat with focus and determination. She

watches him, scared, as the song soars.

Ahead, nothing but mist and rain. No sign of a coastline.

Then, a bellowing HORN is heard, off.

Conor looks out. Out of the mist a HUGE CAR FERRY is

appearing, travelling in the same direction, but cutting
across their boats course.

RAPHINA
Jesus Christ!!!!!

Conor slams the boat into reverse. The engine grinds in

protest. The FERRY passes them by. Up on deck, countless
Irish immigrants stand, smoking, drinking cans of Guinness,
watching the sun come up etc. Some of them see the little
boat below, pointing and laughing.

EXT. THE CAR FERRY - CONTINUOUS

P.O.V. Shot from deck of ferry.

 117.

EXT. THE BOAT - CONTINUOUS

Conor waves up at the people on deck. Then speeds onwards.

Raphina smiles, looking at his back. She tries to light up a
cigarette. Then gives up. She starts laughing.

The SONG really takes off now. Its Conors voice singing.

The lyrics are about him and Raphina. About their future. A
model and a singer. About staying together. Written from an
older brothers perspective. What were hearing is clearly a
marriage of Brendans lyrics and Conors music. From the
future. And its the only clue to whether Conor and Raphina
ever made it. Because right now, all we can see is mist,
rain, and grim determination on COSMOS drenched face....

Snap to black.
FOR YOUR CO N S I D E R AT I O N

BEST ORIGINAL SCREENPLAY

John Carney

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