All language subtitles for A.Man.Of.No.Importance.1994.720p.WEBRip.x264.AAC-[YTS.MX]

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(ship horn blowing)

("Let's Fall in Love")

(ship horn blowing)

(ship horn honking)

- And at every cloud that
past, in happy freedom by,

but

there were those among us all

who walk with downcast head,

who knew that had
each got his due,

they should have died instead.

He had killed

a thing that live

whilst they had killed the dead.

♪ Birds do it ♪

♪ Bees do it ♪

♪ Even educated fleas do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪

♪ In Spain ♪

- Come on quick,

the bus is coming.
- All right.

♪ Do it ♪

♪ Lithuanians and Letts do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪

- Don't be dirtying
that nice clean bus now

with your elbows.
- What?

You have it lovely Bosie.

- I can see myself in it
like narcissus.

- You're at it again.
- I'm what?

- That stuff you do.

Big words, poetry.

- Oh, uh-huh.

- What did you give
them this morning?

- Well, I proposed to
give them a treat today.

They may choose any piece
they like from my repertoire.

- Come on, it's eight.

Carson will crucify us
if you're late.

Hey Alfie?

I've got one request,
do us that one.

The dead are dancing
with the dead.

- And down the long and
silent street,

the dawn with
silver-sandaled feet

crept like a frightened girl.

("Let's Fall in Love")

Good morning my dear friends.

- [Bus Patrons] Good morning,
Mr. Byrne.

- We caught the tread
of dancing feet.

We loitered down the
moonlit street.

And stopped beneath the
harlot's house

like wire-pulled automatons,
slim silhouetted skeletons

went sidling through the
slow quadrille.

- I do love this bit
about the ciggy.

- And sometimes a horrible
marionette came out

to smoke its cigarette.

- Woodbine
- Disgusting habit.

(coughing)

- And turning to my love I said,

the dead are dancing
with the dead.

The dust is whirling
with the dust.

(whistling)

Suddenly the tune went false.

The dancers wearied
of the waltz.

The shadow ceased to
wheel and wail.

(dramatic instrumental music)

My friends, we have a new face.

Permit me on your behalf
to welcome her

into our little circle.

Welcome, my dear, welcome.

Proving once again that
nature imitates art.

Miss?

- Rice.

- Miss Rice.

Miss Rice's entrance
matches perfectly

the lines of our poem,
our little rhyme, listen.

And suddenly the
tune went false.

The dancers wearied
of the waltz.

The shadows ceased to
wheel and whirl,

And down the long and
silent street,

the dawn with
silver-sandaled feet

crept like a frightened girl.

(bus patrons applauding)

- Fair play to you, Mr. Byrne,
Fair play.

(Alfie humming)

- [Radio Announcer] Members
say there will be further calls

for the resignations of
the Minister for War,

Mr. John Profumo,
after allegations

that his relationship with
showgirl, Miss Christine Keeler,

met with a serious
breech of security.

(trumpeting music)

- Merciful hour!

I couldn't eat that.

Ugh.

- You've had it before,
you like it.

It's spaghetti with a
bolognese sauce.

- It's not curry, is it?

- Curry's Indian.

The fellas with the turbans.

- Never eating curry again,
not after the last time.

- This is Italian.

- Yeah, but they're all
darkies to me.

- The Parlettis are Italian,
Lily.

The Fuscos, the Capranis.

They buy their
vegetables off you.

- Yeah, and look what
they do with them!

Jesus.

I suppose I have to
eat something

to keep body and soul together.

(music playing on radio)

- Remember this morning,
I said I had a feeling?

- Oh yeah, one of
your premonitions

- Well, I was right.

Someone I was waiting for,
expecting, walked onto the bus,

out of the blue.

A girl.

- A girl!

That is the power of the
nine weeks of St. Jude.

A nice girl for you!

- It's not for me.

It's for my play.

- Oh, God!

You're not starting that again,
are you?

- If you're talking about "The
Importance of Being Earnest".

- I don't know what
it was called,

but it's the one you made a
complete banjax of anyway.

- I'm not talking about that.

I'm talking about another one.

I intend to stage Oscar
Wilde's masterpiece,

"Salome", and I've
found my princess.

- "Salome"?

Is that out of the Bible?
- Nothing to do with the Bible

or nine weeks on your
knees to St. Jude.

It's to do with art.

- Art?

Art has your head put astray.

Mine as well.

Is she a Dublin girl, this girl?

- I don't know.

I haven't really
spoken to her yet.

(bus revving)

- Carson!
- Hmm?

Excuse me, missus.

- All tickets, please.

(baby crying)

This woman has no ticket.

- Why, Mr. Carson, I must
have overlooked this lady.

There you are, ma'am.

- The bus company is
not a charity.

If you want to provide
free transport for wasters,

that's up to you.

(bell dinging)

But if I come on and find
a tinker without a ticket,

I'll put you off the bus,
not them.

Mark me now!

(girls screaming)

Get back, get back will yous.

(church bells ringing)

- [Nun] Lovely morning.

- Miss Rice?

- Adele.
- Adele.

Will you be in my play?

- Your play?

- We have a drama group,
my friends and I.

- On the bus?

- In a theater, (car
honking) St. Imelda's.

- Sure, I can't act.

- You're the perfect princess!

- Some princess.

What are you like, Mr. Byrne?

- No, I mean,
princess in the play.

Salome.

(horns blaring)

(Bosie tapping)

Coming, coming.

- Get out of the way, you
dozy old bollocks, you!

- Is that the one who
danced for Herod?

And got the head of John
the Baptist on a plate?

- Yeah, yeah, you know it!

- From the penny catechism.
- Yeah.

(horns blaring)

Philistines!

Say you'll do it, Miss Rice!

Say you'll be my princess!

- Was she a kind of a
belly dancer, Mr. Byrne?

- Yes!

(horn honking)

(pedestrians muttering)

- Well?

- She's not absolutely agreed,

but I'm certain she'll do it.

We begin rehearsals tomorrow.

She'll be perfect.

She is like a dove
that has strayed.

She's like a narcissus
trembling in the wind.

- You're at it again.

- She is like a silver flower.

- Do you know what I think?

- What, Bosie?

- I think you're soft on her.

(neon sign buzzing)
(birds chirping)

- Ah, Alfred!

Something for the sister,
sweetbreads,

good for a delicate tum.

- It's not offal I seek, Mr.
Carney.

I bring news of the drama.

We're going up again!

(doorbell ringing)
- Oh, we're going up, are we?

How did that come about?

- I found a new actress.

- Is that a fact?

- A new female lead.

Walked out of nowhere
onto the bus, sat down.

A charming creature.

Perfect for the part.
(Billy clears throat)

- Oh, my God, that's great,
isn't it?

What do you want, Billy?

- Three of them, Mr. Carney.

- Three of them right.

That's marvelous news.

Oh, great!

So, we're going to restart,
are we?

Oh, now, tell me, tell
me, tell me, Alfred.

Am I still playing the
part of Algernon?

- Ah, the thing is that...

- I'll accept no minor
part mind you.

- No fear, Mr. Carney.

You're still the backbone,
the guts, the very tripes

of my production.

- You're still my star.

- Ah, God bless you, Alfred.

That's two and six, Billy.

Great.

- Ah, the refreshments?

- Oh, no, no, no, don't worry.

I will provide the ham for
the rehearsal sandwiches.

God bless you, Alfred.

(footsteps tapping)

- It is very vulgar to
talk about one's business.

Only stockbrokers do that,

and then merely at
dinner parties.

(audience applauding)

(trumpeting music)

Bravo!

Magnificent!

Bravo!

- [Passenger] Good morning,
Mr. Byrne, lovely morning.

("Let's Fall in Love")

- Good morning, my dear friends.

- [Bus Patrons] Good morning,
Mr. Byrne.

- Good morning, Princess Salome.

(bell dinging)

- What's in the sandwiches?

What's in the sandwiches?

- Lettuce and rocket.

- Rabbit food.

My ma puts in beef.

- So young, so carnivorous.

- You're at it again.

- At what, my Bosie?

- That stuff you do.

- What?

- Big words, poetry.

I'm going to find out who
this Bosie is.

Better be a bloke.

Yeah?

A regular young fella,
know what I mean?

- Will you be in my play?

We're going up again.

Bosie, that's what we say
in the theater.

Going up.

But I have a part in
it for you, a big part.

- You asked me that the last
time and the time before.

You know I can't act.

Anyway, acting's stupid.

The lads would rag the arse
off of me if I came on acting.

- Be in my play.

We could dye your hair
blond, like an angel.

(Bosie laughing)

- You're weird, you are.

Lettuce and plays and
poetry and dyeing my hair.

Here, come on.

Come on.

Carson will crucify us.

(door bell chiming)

- Ah.

Mr. Byrne.

- It's about the hall, Father.

We'd like it for a play.

- Oh, gosh, yes!

Your little drama group.

So you're trying it
again this year?

Do you think, will you
manage it this time?

- We're quietly confident,
Father Kenny.

- And is it the same one?

You've not changed it?

- No, it's another one.

About John the Baptist.

His beheading.

- Oh, well,

it's a biblical theme
and that's a good thing,

a fine thing.

I'll get the keys for you.

Isn't there a dance in
there somewhere?

Would it be immodest dancing?

Now, the Archbishop is very
strong on immodest dancing.

- Nothing immodest,
Father Kenny.

It's art.

- Oh, art.

Well, I'll get you the keys.

You might drop off the
script some time.

- Well, that's a bold stroke
and no mistake, maestro.

Salome.

What put it into your head
to do something so exotic

at your time of life?

- This will be my testament.

This will be my coup de grace.

This will be my monument, Birdy.

- And this girl you're on about,

she's going to be Salome, huh?

- [Alfie] Yes.

The Princess Salome.

Her little white hands
fluttering like doves,

that fly to their dovecote.

- No fool like an old fool.

And does Carney know?

- Yeah, yeah.

- Have you told him
what play you're doing?

Have you told him it's this one?

Salome.

- I've told him we're
going up again.

I'll give him the
script in good time.

- He's in the Sodality of
the Sacred Heart remember.

He might take it bad.

There's all that dancing.

I mean, the Sodality's very
down on immodest dancing.

- It's not immodest.

I mean.

Look, dancing is neither
modest or immodest.

It's either well done
or badly done.

That's all.

- Is that a quote?

- Almost.

I'll give Carney a
starring role.

That will mollify him.

- Ah, I see what
you're getting at.

- He'll be King Herod.

- They're both butchers,
of course.

(electrics buzzing)

Ah, look at this.

This is from the
last production.

Mr. Alfred Byrne presents

"The Importance of Being
Earnest" by Oscar Wilde,

presented on March the 13th,
1959.

You see, it was a
Friday the 13th.

I remember warning you
about that at the time.

Friday the 13th.

It's a known theatrical
tradition, like Hamlet.

- What are you talking about,
Birdy?

- They never go up on a
Friday the 13th,

and they never say Hamlet,
never.

- It's Macbeth they'd never say.

Look at these names.

Mrs. Brady.

Where is she now?

- Got a new bike.

- Uh, Rudge.

Forsook the route,
faithless one.

And Miss Greer.

Miss Greer, gone to the 14B.

And Joe Gunn, look.

Got a job at the Guinness,
walks to work.

And Greg Whyte.

- Ah, yeah, Mr. Whyte.

The Reverend Chasuble that was.

- The whited sepulcher,
the abomination.

(ominous violin music)

- A Morris Minor was it he got?

- A Standard 10, Birdy,
for 30 pieces of silver.

- Ah, must have cost
more than that.

- A metaphor!

A metaphor for betrayal.

I made him from nothing.

Raised him to the stars.

The first promotion he gets.

- Off the bus and into
a new motorcar.

- A Standard 10.

He shall be seated
at the throne.

And the angel of the Lord
shall spite him.

He shall be eaten up in one,
him and his Standard 10!

(laughing)

Fares, please.

- [Biker] The only problem
is, I hope they turn up.

- Yeah, could be a
loose connection.

- Will you be in my play, Bosie?

- My name's Robbie!

And I can't act and I
can't fix this yoke.

- It could be the rotor.

- The what?
- Well, you know, the rotor?

You know, the
distributor thingy.

- It's a diesel, Alfie, it's
not a bleeding helicopter.

(laughing)

Rudder.

I'm gonna be late!

- Well, why don't you go
on to the Pipe

and I'll wait for the
breakdown bus.

- Yeah?

- Go on, go.

- Nah.

I can't leave my bus, our bus,
no.

- A noble sentiment.

We'll amuse ourselves,

telling stories from
the great river of life.

- Now that will be fun.

(soft instrumental music)

If I can produce only one
beautiful work of art,

I shall be able

to rob malice of its venom,

cowardice of its sneer

and pluck out the
tongue of scorn

by the roots.

If life be

as it surely is

a problem to me,

I am no less a problem to life.

Golden-haired like an angel.

- [Lily] Where you going?

- Out.

- On a date, is it?

Got you.

♪ Say the things we
used to say ♪

♪ And make the world go away ♪

♪ I'm sorry if I hurt you ♪

♪ I'll make it up ♪
- Kitty.

♪ Day by day ♪

♪ Just tell me ♪

♪ You still love me ♪

♪ And make the world go away ♪

♪ Make the world go away ♪

♪ Just get it off, off
of my shoulder ♪

♪ Say the things we
used to say ♪

♪ Only you can make it go away ♪

(speaking in foreign language)

- It's an auspicious start to
our little drama, is it not?

The feast of St. Blaise,
the protector of throats.

- Our daddy, God rest him,

was devoted to St. Blaise,
wasn't he?

- It didn't save him from
the cigarettes.

- No.

- So was Mrs. Carney, Lily.

So was Mrs. Carney.

Ah, lovely occasion though,
wasn't it?

- Nice ceremony.
- Yeah.

- One feels cleansed.

- Clean as a whistle, Mr.
Carney.

Not like those poor
sinners over in England.

- Are you referring to this
scandal, this Profumo affair?

- Yeah.

The cut of them girls.

- Oh, it's a sad case.

Oh, poor creatures.

Taken like the woman in
the Bible, in adultery.

There's only one thing
worse than adultery.

- That's right, Mr. Carney.

That's very true.

How would that be?

- The unspeakable sin.

The sin committed by

this poor benighted
creature, Stephen Ward.

Homo-opathy.

- Oh, that was really good.

Oh, I got it that time,
didn't I?

- Remind me again, why it's
Salome we're doing, Mr. Byrne.

- If I can only produce...

- Oh yeah, I remember.

- One beautiful work of art.

- Plucking out the tongue
of scorn by the roots.

Wasn't that it?

And it's definitely not
an excuse for you

to have Miss Rice buck-lepping
around in a set of veils

hired from Ging's in
Dame Street?

- Certainly not, Birdy.

The thought's unworthy of you.

My commitment is to art.

I certainly hope Miss
Rice will dance.

And Robbie will agree to
play the part of Jokanaan.

Oh, dear.

- [Woman] Oh, my goodness.

- Recite us that piece again.

If I can only produce.

What?
- You ruin the head on it.

- [Birdy] Oh, dear.

- What on earth are
you playing at?

Look at that.

You spoiled the whole game.

(soft instrumental music)

- On the panel.

Look on the panel.

Stage manager.

Ah, splendid fellow.

- [Birdy] Now, you sit down.

- First, thank you for coming.

(chuckling)

And second, there are
some changes.

The major change is, of course,

that we're putting on Wilde's
masterpiece, "Salome",

this time and not, "The
Importance of Being Earnest".

Some things I'm happy to say,
some things remain the same.

Mr. Christy Bird is
still our stage manager.

(actors applauding)

And Mrs. Crowe is our
Lord-High-Everything-Else.

(actors applauding)

Now to the cast.

Mr. Carney will be King Herod.

(actors applauding)

And Mrs. Grace will be
our handsome Herodias.

(actors applauding)

I'm pleased to say that the
Curran twins have agreed

to play First Soldier and
Second Soldier.

Mr. Jack.
- Phil.

- Mr. Phil, Mr. Jack.

(actors applauding)

I shall be Jokanaan for now.

But I believe that that part
will be filled presently.

I confidently expect it.

And now, who will be the
Page of Herodias?

Mr. Lally!

(chair squeaking)

(coughing)

Perhaps we'd better
make you a Cappadocian.

I'll come back to you.

But the best news of all is

that we have a new star
in our little firmament,

a Salome as beautiful
and talented

as Oscar Wilde himself
would have wished,

Miss Adele Rice.

(actors applauding)

But as she is new to the
part and to the theater,

she will observe only at
this rehearsal.

Mr. Bird, if you will illuminate
the stage, we'll begin.

(electrics popping)

(actors screeching)

(dramatic instrumental music)

- Lily!

Lily! Can you come down
here a minute?

Would you mind?
- What?

- This?

This is salacious stuff.

- [Lily] What's salacious?

- This play, Salome, that your
brother Alfred's putting on.

Listen to this, listen to this.

What shall I do now, Jokanaan?

Neither the floods nor
the great waters

can quench my passion.

I was a princess, thou
didst scorn me.

I was a virgin and thou
didst take my virginity.

- Come on now, this is
just (mumbling).

- All right, well come
over here and sit down.

It's just nothing but smut.

I couldn't condone a
play like that,

let alone take a part in it.

I won't read you any more.

I wouldn't let a decent
woman hear half the stuff

that's inside here.

Now, just stay here. I'll
get you a nice cordial.

- Oh, yes.

Raspberry, please.

- Raspberry, right.

- Raspberry's very soothing.

Are you all right there?

- Yeah.

- You all right?

- I'm all right.

I'm just shaking, I'm
shaking with the,

just reading this stuff.

- Ah, but you're a pioneer,
love, in your own rights.

It's a great thing,
being a pioneer.

- You think it is?

Ah, there you are.

- Well, I'm not a pioneer now,
as such.

Right?

- You know, Lily,

I didn't realize until tonight

what you've been put through.

- Oh, he was very
strange from a child.

A solitary boy, you know.

- Uh-huh.
- A reader.

- Oh?
- Yes.

And you know another thing?

That room of his, do you know,

he never ever unlocks that room.

- There'd be no locks
if it was me.

You must always have access.

Without that, you get
this kind of stuff.

- And do you know what more?

Do you know what's in his room?

Books.

Hundreds of books under
lock and key.

- I don't like the
sound of that.

- Mind you, he told me
that they were all

about railway trains

- I doubt it. Let me get
that out of your way.

You can put your glass down.

- Thank you.

- Railway trains, I doubt that.

- Yeah.

- Bring me the head of
John the Baptist indeed.

- All tickets, please.

Well, for once, I
can't fault you.

No spongers on board.

The young fella getting
better at keeping nix.

Oh, there's a pair
of yous in it.

And I have my eye on yous both.

("Let's Fall in Love")

- [Man] The Tetrarch has
a somber look.

- [Man] Yes, he has a
somber look.

- [Man] He's looking
at something.

- He is looking at someone.

- Stop doing that!

- Yes, stop doing.

Where's that?

- Would you stop repeating
everything after me?

- I'm not!
- You are!

- Calmly, Mr. Flynn, it's
in the script.

- [Mr. Flynn] The Tetrarch
has a somber look.

- Good morning,
- Morning.

- Mr. Ryan.

You are playing
various Nazarenes.

- Speaking?

- No, mute, I'm afraid.

But nonetheless
important for that.

Hold tight.

(bell dinging)

From where we were.

(girls chattering)

- [Man] The Tetrarch has
a somber look.

- [Man] Yes, he has a
somber look.

- [Man] Stop doing that.

(dog barking)
(train horn honking)

- Mrs. Crowe, would you
ever get on to Gings,

the costumiers in Dame Street?

I think there's been
some mistake.

- No, no.

No, now, he's changed
the locks again.

He does that to thwart me!

- Lily, let me look through
that keyhole, will you?

(clock chiming)

My God, look at that.

Look at it.

God, he has to be stopped.

He's the Typhoid Mary
of the theater

contaminates all he
touches with filth.

I have a key that
fits all locks.

I'll find these books of
his and have them destroyed.

It's for his own good,
Lily, I can assure you that.

And this play he's putting on

I'll have that taken
off with all the haste

that Father Kenny, I'm afraid,
can muster.

And you as a gesture of
sisterly freedom.

Let me get the light.

There you are, now.

Ah, music.

Would you like to hear music?
- Lovely

- Ah, that's great.

(record scratching)
(soft waltz music)

- Now, do you like that?
Now, what I was saying.

We should attempt to keep
him out of harm's way.

- Yeah, but you don't mean now,
now...

- It's about time, isn't it?

- You don't mean like
St. James' Hospital now?

- No, no. I didn't mean
to have him committed.

But that's a very good idea.

No, I was talking about
marriage, Lily, my dear.

- Marriage?

Alfie?

- You know, the natural
state is the married state

for a man of his age, you know.

Like a priest or a widower,
maybe.

You know, uh, by rights.

- By rights, Mr. Carney.

Married, and out of the
house by rights.

- I wouldn't say out of
the house, Lily.

- But I would, Mr. Carney,
I would.

Now that's lovely.

Who's that?

- Who is it?

I don't know.

(church bells tolling)

- Excuse me, are you Miss Rice?

- Yes.

- Well, I'm Alfie's sister.

- Mr. Byrne?
- Yes.

- From the bus?
- Yeah.

- Our director?
- Yeah.

Come here.

I just want to have a quick
word with you for a minute.

You know, Alfie, he's just
crippled with shyness, you know.

So he asked me if I would
come down here to ask you

would you like to come and
have tea with us tonight?

- He wants me to come to tea?

- Of course he does, a
beautiful girl like you.

- Do you know where we live?

- No.
- It's just around the corner.

It's James Street.

A butcher's shop
called Carney's.

And we live over that, right?

Now, I brought you couple
of eggs, love.

'Cause there's no proper
feeding in digs, I know that.

And you need a bit of
nourishment,

like, a girl on your own.

Don't forget, James Street,
butcher's shop tonight.

See you.

- Oh, Lord.

- You must not look at her.

You look too much at her!

- Mr. Lally, would you mind

if we did it just once more?

How pale the princess is.

Never have I seen her so pale.

She is like the shadow
of a white rose

in a mirror of silver.

- You must not look at her.

You look too much at her.

- Mr. Lally, a moment.

This is art.

Mr. Lally, you understand, art?

And art never expresses
anything, but itself.

- Well, what does that mean, Mr.
Byrne?

- It means quieter, Mr. Lally.

Try it once more.

She is like the shadow
of a white rose

in a mirror of silver.

- You look too much at her.

You must not look at her.

- Better.

Better.

Much better.

(bag crumbling)

- Now that is a beautiful
omelet, Alfred.

It's a great gift to be
able to cook.

- Aye.

Where's Carney?

He wasn't at the
rehearsal again.

- Sodality night, he's the
secretary, you know that.

Did the rehearsals go well?

- Going splendidly.
- Great.

What's your first name again,
pet?

- Adele.
- Adele.

It's a beautiful name,
isn't it, Alfred, Adele.

Did you enjoy the rehearsals,
love?

- Grand.
- Great.

What's this play about anyway?

- It needs spice.

- Is there a nice little
love scene in it?

- I don't think you'd
call it love, it's.

- Spice, Adele?

- I think love is great.

I think love is lovely.

What part of the
country are you from?

- Roscommon.

- Where is that?
- Under Shannon.

- Bread?

- A bit of bread, love, yeah.

And eat your omelet.

Made that specially for you.

He's a great cook, you know.

Daddy thought it was very odd.

A man being a good cook.

- Lily.
- I think it's wonderful.

I think any girl who
finds a man who can cook

is very lucky, you know.
- Lily.

- He does all the cooking
in this house.

I never have to lift a finger.

- [Alfie] Lily.

(elephants trumpeting)

(bird cawing)

- You don't really want to,
do you?

- What?

- Go out with me.

- Course I do.

I enjoy your company.

Oh, look at that.

(chuckling)

(hippo snorting)

- No, no. I mean step
out with me,

like your sister said.

- Oh, God, oh what did she say?

- It doesn't matter.

She's trying to fix us up.

(chuckling)

Listen to me, Mr. Byrne.

There's something I
wanted to tell you,

but I never got the chance.

You see.

- You have a boy, you
have a fella.

- Yes.

You see, you know very
little about me, really.

I think you think more
of me than I deserve.

- You seem to me perfect, Adele.

And your young fella, are
you fond of him?

Young love is a lovely thing.

(chuckling)

Or so I'm told.

Is he here in Dublin?

- No.

No, no, no.

- [Alfie] And what's he called,

this lucky man who's
loved by a princess?

- [Adele] John.

- That's a coincidence, John,
huh?

He's a very lucky fella,
that John of yours.

(seal barking)

- It's all right, it's nothing.

I'm just being stupid.

People are very harsh judges,
you know?

- Yeah, well, why should
anyone judge you, my princess?

- Oh, I'm far from a princess.

Far from it.

But I know you won't
judge me too harsh.

- Judge you, why?

- Oh, come on!

Stop.

What are you like, Mr. Byrne?

I'd invite you in for tea, but.

- Oh, no, no.

- I only have one room and
they don't allow guests.

- Yeah, yeah, of course,
lodgings.

- Oh, thank you for the zoo.

- Thanks for coming out with me.

- You're very nice.

Mr. Byrne, I hope you're
not cross about John.

- No, no.

That's a sort of joy to me.

To know that you love someone

and that they love
you in return.

Adele.

The love that dare not
speak its name.

Do you know what that is?

- I don't, Mr. Byrne,
to be honest.

- Till tomorrow,
Princess Salome.

- Till tomorrow, Mr. Byrne.

(children chattering)

(soft instrumental music)

(speaking in foreign language)

- [Man] What's fine that
thing of yours is there?

- I'm off, see you.

- We're rehearsing tonight.

Why don't you come and see?

- I'm playing snooker.

- You what?

- I'm playing snooker.

Why don't you come to
the snooker?

- [Alfie] We're rehearsing.

- Well, after the rehearsal.

We don't start till all hours.

- Your friends'll rag me.

- Don't mind them.

They rag anyone.

- There is nothing in the
world so red as thy mouth.

Let me kiss thy mouth.

- Ah.

That was very good.

Charm.

Grace,

Style.

A very fine Salome.

Now. (clapping)

Second sequence, Herodias.

And Tigellinus, Page
of Herodias.

Um.

Page 12 in your versions,

from how these men weary me,
Mrs. Grace.

Now, this is ensemble acting.

No waiting for cues.

First Nazarene, will you
put that cigarette out?

And principals, you know
what's required from you.

And, Mrs. Grace, I want
a commanding,

spirited,

flirtatious portrayal.

Where's the Page of Herodias?

Ah, look at there.

On stage, Mr. Lally.

We're ready for you.

- Mr. Byrne, a minute, please,
a minute.

I'd be better off saying
my lines from down here,

if you don't mind, please, sir.

- But may I inquire why?

- Oh, it's the beating.

- The beating?
- Yeah.

- Where, here, there, now,
look there.

She strikes the page
with her fan.

- Well?

- Well, there's a bit,
a bit too much gusto

in the striking, if you
see what I mean.

(telephone ringing)

- Mrs. Grace.

- Mr. Byrne.

I think.

(ominous bass music)

- You think what, Mr. Byrne?

- I think what we need
here is a break.

(bar patrons chattering)
(balls clanging)

(lively instrumental music)

- Poxy.

♪ Guess there's no use in
hanging round ♪

- The second time I missed it.

♪ Guess I'll get dressed
and do the town ♪

♪ I'll find some
crowded avenue ♪

♪ Though it will be
empty without you ♪

♪ Can't get used to losing you ♪

♪ No matter what I try to do ♪

♪ Gonna live my whole
life through ♪

♪ Loving you ♪

♪ Call up some girl I
used to know ♪

- Go on, you can't miss.

♪ After I heard her say hello ♪

Jesus.

(men laughing)

- You're brutal!

- Flukey!

- Robbie, where did you
get this fellow?

- Don't mind them, Alfie,
you're bleedin' brilliant.

You had 'em all fooled,
including me.

Do you want a mineral?

- Yeah.
- Two minerals, Gertie.

♪ Can't get use to losing you ♪

♪ No matter what I try to do ♪

♪ Gonna live my whole
life through ♪

- Alfie?

♪ Loving you ♪

How come you're on such
good form tonight, eh?

- I'm elated, my boy.

The drama's going splendidly.

- You telling me that now?
- I do, I do.

Salome's the key.

Miss Rice is splendid.

She's like a dove
that has strayed.

- Alfie, she's a funny mot,
that one.

Do you know that?

She's deep, she is.

- What do you mean, my own boy?

- I don't know.

She acts innocent.
- She is innocent.

She is a virgin.

She has never defiled herself.

She has never abandoned
herself to men,

like other goddesses.

- Jesus, is that what you think?

- I do, I do.

- Well, fair play to you, Alfie.

- [Man] Oy, Robbie, we're on!

- Come on, it's our turn again.

(bar patrons chattering)

- Nice ball, Mr. Byrne!

Ah, it's better you're getting.

- Do you ever get lonely, Birdy?

- Ah, yeah, course I do
since Mary passed away,

God rest her.

Ah, a man needs a partner,
a helpmate.

That's why God made man
and woman, do you know?

Do you know what I miss?

The cuddles.

That's the best thing
about marriage.

I mean, Mary was a great cook,

and a great ironer of a shirt.

Oh, yeah, I know, I know,

but, but,

best of all...

- Your Mary, she was
a big woman.

- Ah, break a bag of
ribs she would.

Nothing like it.

That's what you need,
a woman to cuddle you.

Stop your mooning around.

Set you to rights.

- I am ready.

Tetrarch.

(Alfie clapping)

- Excellent, Adele!

Good, good.

Oh, ah, Mr. Bird.

- Hey, hey!

- Mr. Byrne, come here a
minute, come here, come here.

I want to tell you something.

You have got her
completely wrong.

All wrong.

She's not what you think
she is at all!

She's a tough cookie.

She's a bad person
through and through.

She's a whore, Mr. Byrne.

- Mr. Lally!

- And you are playing
her like a nun.

- Oh, you mean Salome?

- And who else?

You don't think I was talking
about Miss Rice, do you?

- No, no of course not, no.

But that's just it see.

Now, this is not real life.

I mean, that's Wilde's
great achievement,

to take the crude
clay of real life

and to transmute it into art.

So, though Salome is a
belly dancer,

she's pure as
quicksilver is pure.

Do you see?

Wilde had no life
aside from art.

Remember that, Mr. Lally.

He lived in the realm of
the aesthetic.

He never descended
into the sewer.

Mr. Bird!

- Well, that's not what Mr.
Carney's saying, Mr. Byrne.

- And for St. Joseph's bursary,

for the education of
young clerics,

the sum of three pounds,
10 shillings.

Now, that concludes the
financial report.

That's it, then.

The financial report
is finished.

- Ah, yes, good, so it is.

So, then, just the minutes then.

- We've done the minutes!

- Oh, yes, so we did, good.

So, it's any other business.

- That's me.

- Oh, yes, Mr. Carney.

- I'd like to draw the
Sodality's attention

to the purpose to which St.
Imelda's Hall is being put.

- Oh, certainly, Mr. Carney.

- Well, in fact, it's become
a house of ill repute,

no more, no less.

- Merciful hour!

- A house of smut, of
foul, sexual language,

excessive drinking, violent
behavior and immodest dancing.

- When did this happen, Mr.
Carney?

- Well, you should know,
Father Kenny

since you condoned
this behavior.

- I did no such a thing.

You know well I'm as strong
on drink and immodest dancing

as the Archbishop himself.

- That's a very strong
accusation, Mr. Carney.

- Well, I'm not withdrawing it.

There is a play
currently in rehearsal.

- Oh, sure!

That's Alfie Byrne's play.

(laughing)

(banging)

- Oscar Wilde's play, "Salome".

- Yes, and I believe
you're in it yourself.

In fact, I'm
surprised you're not

down there rehearsing
at this minute.

- You wouldn't see me
rehearsing a play

with words like this in it.

Wait a minute now, I'll
read them out to you.

These are the words in
the play here.

Incestuous.

Harlot.

Abominations.

Fornication.

Look at that.

- Fornication?

Bladrick.
- What?

- Bladrick.

- Baldrick.

- Oh.
- Not Bladrick.

- Second Cappadocian.

Quickly, quickly!

We have a scene to play here.

Fourth Nazarene!

(people chattering)

Birdy, where's Carney?

- He's not coming.

- What?

What do you mean,
he's not coming?

- Carney, he's telling
people to stay away,

to boycott you.

He's got the
Sodality behind him.

They're saying that the
play is immoral and immodest

and scurrilous, and I
don't know what.

They want to put it
out of the hall.

- And me?

What are they saying about me?

- Carney says you're a
bad influence.

- Queensbury.

(dramatic bass music)

- What?

- Nothing.

Nothing.

A ghost.

A specter.

A premonition.

And did they.

Did he try to turn
you against me?

- Ah, yeah.

I told him to feck off or
I'd burst him!

(laughing)

- Ah, Birdy.

My best, my truest friend.

- That's the spirit, Mr. Byrne.

Now, don't let the
bastards grind you down!

- Ah, a commendable sentiment,

if a little coarse in
the phrasing.

Right, where are we now?

- Here, Mr. Byrne.

- Ah.

Oh, yes, you got what you want
and you're not happy, so ah,

what shall I do now?

- What shall I do now, Jokanaan?

Neither the floods, nor
the great waters

can quench my passion.

I was a princess

and thou didst.

- Scorn me.

Thou didst scorn me.

(soft instrumental music)

Now, now, now, now, now.

Take your time, Miss Rice.

Neither the floods.

- Neither the floods

nor the great waters

can quench me passion.

I was a princess

and thou didst scorn me.

- This is no good.

- Silence!

I was.

- I.

(sobbing)

- I was a virgin and thou didst
take my virginity from me.

Oh Lord.

- She's what, Mr. Carney?

- She's pregnant, Mrs. Taffe.

- [Lily] Merciful hour, who by?

- Who by?

Who by?

That's the $64,000 question!

I got this

from the secretary

of the Sodality in Roscommon.

- Roscommon, that's
where she's from!

- Country girls is very
lax in their morals.

It's all that loose
straw lying around.

- I haven't my glasses with me.

What does it say?

- Well, in the spirit
of Christian wariness,

I made a few inquiries and
this is what I came up with.

Now she left Roscommon
about a month ago

to come up to Dublin,
where she found

a suitable niche for
herself in that charade

your brother
Alfred's putting on.

- Well, then she is not
gonna be a suitable mate

for him at all.

- She's not suitable at all.

Mutton dressed as lamb!

- She's a bit young
to be mutton!

- Our Christian duty is plain.

We must impart what we know.

We must warn!

- But this is a terrible blow,
Mr. Carney.

- Though if you ask me,

she always looked a bit
of a slapper.

- Get us another drop
of cordial, Mr. Carney,

will you, please?

- Yeah, yeah, oh right.

- Pregnant!

Jesus, Mary and holy St. Joseph!

Give us that.

What are you looking at?

(door bell dinging)

(soft instrumental music)

(church goers muttering)

- In the name of the Father

and the Son and the Holy Ghost,
amen.

Bless me, Father, for
I have sinned.

Father.

- Yes.

- If, um, a girl, a young lady,

had got pregnant

you know, what would the man,
what should?

- Is that you, Mr. Byrne?

- Well, is it?
- Yeah, yeah.

- Dear God.

This is a turn-up for
the books, no mistaking.

Mr. Byrne, what do you
intend to do about it?

What will you do
about the child?

- Will you have a bit of sense,
Father?

I'm not the father!

And what put it in my head
to come here for advice?

I can't think!

(dramatic instrumental music)

- Oh, poor Mr. Byrne.

(swings creaking)

(knocking)

- Well?

- Miss Rice.

Miss Adele Rice.

- She's up on the back landing.

My ma's out.

She wouldn't let you up there,

but I don't mind.

(gentle instrumental music)

(Adele moaning)

- Adele.

(Adele moaning)

Adele.

Are you all right?

- John!

Oh, God!

Oh, John!

Oh!

Oh!

Mr. Byrne?

- [John] Mr. Byrne,
who the hell?

- Mr. Byrne!

Mr. Byrne!

Oh Mr. Byrne.

♪ Love letters straight
from your heart ♪

♪ Keep us so near ♪

♪ While apart ♪

- [Male] On main street,
that's all I do.

♪ I'm not alone ♪

♪ In the night ♪

- That's an awful shake
you have there.

Would you like a Woodbine
to steady your nerves?

- Yeah, please.

- I find them very soothing.

Are you looking for that chap,
Fay?

♪ The name that you sigh ♪

- Very handsome young chap,
that.

♪ And, darling, then I read
again right from the start ♪

(plates clanging)

♪ Love letters straight
from your heart ♪

- I'm sorry.

Stupid, I'll pay of course.

- It's only an old
cup got broke.

Be worse if it was your heart.

♪ I'll memorize ♪

♪ Every line ♪

♪ And I'll kiss the name ♪

- Bosie.

♪ That you sign ♪

- Alfie!

Confession.

- I'm not coming.

- What?

Is something wrong with you?

- No.

I'm just not coming.

All that remains is a
recollection

of a pleasure

of a luxury

of a regret.

The only way to get rid
of temptation

is to yield to it.

(lively instrumental music)

(bar patrons chattering)

♪ Hey, Mambo ♪

♪ Mambo Italiano ♪

♪ Hey, Mambo ♪

♪ Mambo Italiano ♪

♪ Go, go, go ♪

♪ You mixed up Siciliano ♪

♪ All you Calabrese do the
mambo like a crazy with a ♪

♪ Hey, Mambo ♪

♪ Don't wanna tarantella ♪

♪ Hey, Mambo ♪

♪ No more mozzarella ♪

♪ Hey, Mambo ♪

♪ Mambo Italiano ♪

♪ Try an enchilada with a
fish baccala ♪

♪ Hey, goomba ♪

♪ I love-a how you dance rumba ♪

♪ But take some advice,
paisano ♪

♪ Learn how to mambo ♪ ♪
If you gonna be a square ♪

♪ You ain't gonna go nowhere ♪

♪ Hey, Mambo ♪

- Want to what?

A cuddle?

A cuddle.

♪ Hello kess-a-deetch-a you
getta happy in the feets a ♪

- Come on, then.

♪ Mambo ♪

♪ Italiano ♪

- He's a queer-looking tulip.

♪ Shake baby shake 'cause I
love it when you take me ♪

(Alfie panting)

♪ Mama say stop-a or
I'm gonna go to papa ♪

♪ And a hey ja drool you
don't a have to go to school ♪

♪ Just make with a
beat bambino ♪

♪ It's a like a vino ♪

♪ Kid you good a looking ♪

♪ But you don't know
what's cooking till you ♪

♪ Hey, mambo ♪

♪ Mambo Italiano ♪

♪ Hey, mambo ♪

♪ Mambo Italiano ♪

(people scuffling)
(Alfie moaning)

♪ Mambo Italiano ♪

♪ That's nice ♪

- That will do now, Kitty.

(soft instrumental music)

- Are you all right?

Are you all right?

- Bosie.

- What did he say?

- Dozy.

- He called you Dozy.

- Dozy.

All right, fella, come on.

Dozy bleeding queer.

You git!

Come on, all the way.

Foley, did you hit him?

- Didn't be arsed,
dozy bollocks.

It was the queers robbed him.

They always are.

- There's only one thing for
me now absolute humility.

- [Policeman] Oh, we'll see,
go on.

Come on.

- Lily, I have a bit of a query,

and you're a very clever woman.

I wonder if you could
enlighten me.

Could you tell me
what a fondue is?

- A fondue is a dog.

Shih-tzu, fondue, Chinese dog.

Everybody knows that.

- [Mr. Carney] Oh, of course,
I knew that, little dog!

- [Lily] Why, has
somebody got one?

- Ah, Mrs. Meehan.

Well, into the shop she walks

and she said she wants
some meat for the fondue.

- Oh, scraps she's looking for.

Free scraps, you know.

Don't give her any.

- Scrap ends.

Bits of gristle for the
exercise of the dog's jaws.

Scrap ends and scrags, you know.

Trotters, gizzards,
innards and everything.

- [Lily] I know.

- My God, isn't that Alfie?

- Alfie!

Jesus, Mary and holy St. Joseph,

what's happened to your face?

- I'm all right.
- Do you know this man?

- God, he's my brother!

- Of course, we know him.
- What happened to your eye?

- Can you take him home, please?

- Alfred, who would have

done this to you?
- What's on earth's

happened to him?
- Nothing.

- Look at the state you're in.
- I did it to myself.

- Who were the perpetrators?

- Well, he's not going
to press any charges.

It's the usual thing.

They never do.

Go on, take him home,

will you?
- All right.

- [Lily] Come home with
us, we'll take him home.

(melancholy instrumental music)

(banging)

- Come on, there's a good
fellow, come on.

There's a good dog.

Come on, come on.

Are you all right?

- Huh, oh I'm grand thanks,
I'm grand.

- [Dog walker] Come on, come on.

- Missus!

Missus, could you
give us a hand?

- Here.

- Thanks, missus, thanks.

- Are you sure you're all right?

Did you slip?

- I jumped.

(laughing)

- Oh, sorry.

- What a funny little
man you are.

- I couldn't touch a thing.

- It's your favorite,
sweetbreads.

- When I think of where
your hands have been.

- That's the point.

They've never been anywhere!

I've never been close
enough to anybody

to rub up against them,

let alone lay my hands on them.

The one person

I like,

well, love, damn it,

- Is a fella.

- Yes, Lily.

It's a fella.

- But don't worry,
because the very idea that

that I might want

or love him

or even feel special toward him

would be so repulsive to him

that he wouldn't be able to
get far enough away from me.

So eat up.

My hands are innocent
of affection.

Eat your breakfast.

(footsteps tapping)

(engine revving)

- The love that dare
not speak its name, eh?

Well, it dared to speak
its name last night

by the looks of it!

- It didn't speak love's
name last night.

That was my crime.

- You're lucky you're
not in the jail,

like yon fella Stephen Ward!

- I am in prison.

I've been in prison all my life

and the one bird that sang
to me from my prison bars

has upped and flown away.

- Oscar Wilde, I suppose.

- Alfred Byrne, I fear.

Where's Robbie Fay?

- Bosie, is it?

Well, Bosie's gone.

- My own boy.

- See, I explained to your
own boy, as you call him,

the kind of man you are and
the things you do get up to,

and he was off like a shot.

Bang!

Couldn't wait to get
away from you.

Aye, it's time.

On your way.

- Mr. Carson.

The love that dares not
speak its name.

Do you know what that is?

- I do not and I don't want to.

- Let me tell you.

It's fine.

It's beautiful.

It's the noblest form
of affection.

- You can kiss my arse.

- There's nothing
unnatural about it.

It's intellectual.

And it exists repeatedly
between an older

and a younger man.

And the older man has
intellect and the younger man

has all the joy and the hope

and the glamor of
life before him.

And that it should be so,

the world doesn't understand.

The world mocks at it.

And, sometimes

puts one in the pillory for it,

Bosie.

(soft instrumental music)

- You must resign.

(speaking in foreign language)

You were caught.

A-ha, everyone on the
bus knows this.

(speaking in foreign language)

Yes, the unnatural act.

The sin of Sodom.

Ah, Bird, you're a
Sodality member.

- Was.

- How can you allow yourself
to be directed by this man?

- Now, why shouldn't I?

- He's a great sinner.

- He's a terrible director.

But I'm staying.

- Mrs. Crowe, how can you stay

in this bed of abominations?

- I don't know what Mr.
Byrne has done,

but I know him for a good man.

I will stay.

- [Man] Me, too.

- Thanks, Phil.

- Jack.

- Ah, I'm blessed in my friends.

- Ernie Lally, you at least!

- He has it wrong about her.

All wrong about her, Mr.
Carney, and I'm staying.

- You're a bunch of, I'm
shocked and surprised.

I don't know what the
world's coming to,

but I know what you're coming
to, Alfred Byrne, a bad end.

Yeah, a sad, bad end.

(bell dinging)

- Oh, Mr. Carney!

(bus patrons laughing)

- What are you looking at?

- Mr. Byrne.

- Miss Rice.

- I'm so sorry.

I was telling the truth,
wasn't I.

When I said I wasn't
what you thought I was?

- We've learned

a horrible lesson.

- About me?

- About myself.

- I know.

I've come to say goodbye.

- Goodbye?

- You don't have to go
on my account.

- I have to go to England.

- To England, why?

- I need to go for me
and the baby.

- Oh, the baby, the baby.

- He's moving already.
- The baby.

- Maybe he'll be a dancer
like his mother.

- And your fella, John.

He'll be going with you?

- He doesn't love me, Mr. Byrne.

- But,

the other day?

You know, when I saw you?

- That isn't always love,
you know.

You're really innocent,
aren't you?

- Man of the world, Miss Rice.

- Love's funny, Mr. Byrne.

I hope it comes to you one day.

Anyway.

- Oh, your suitcase.

- Life goes on
whatever about art.

I'm sorry about the play.

I'm sorry I can't be your
Princess Salome.

Goodbye, Mr. Byrne.

(sobbing)
(soft instrumental music)

- And that never would he see
his face in weal or woe again.

- There you are.

I came to be in the play.

Where's the actors?

- What have you done
to your hair?

- Do you like it?

(laughing)

- My own boy!

I thought you'd gone
and left me.

- Ah, don't mind that old shite,
Carson.

He had me transferred.

Tried to.

- My own boy.

- None of that now.

I know where you've been.

I don't care what you get up to.

I like you.

You're my pal.

And I know who Bosie
was and all.

So, where's this part you've
got for me in the play?

- No play.

But, a part?

I have a part for you.

Sit down, my own boy.

Sit down.

Read this for me.

- All right.

Oh, it's that bleeding
poetry again!

- Read it, my own boy.

- Like two doomed ships
that pass in storm.

Like two doomed ships
that pass in storm

we had crossed each other's way,

but we made no sign, we
said no word,

we had no word to say.

For we did not meet in
the holy night,

but in the shameful day.

(soft piano music)

Shameful?

- Read on, my own boy.

The prison wall was
round us both,

two outcast men we were.

- The world had thrust us
from its heart

and God from out His care.

And the iron gin that
waits for sin

had caught us in its snare.

In debtors' yard the
stones are hard,

And the dripping wall is high.

♪ Birds do it ♪

♪ Bees do it ♪

♪ Even educated fleas do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪

♪ In Spain, the best
upper sets do it ♪

♪ Lithuanians and Letts do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪

♪ The Dutch in old
Amsterdam do it ♪

♪ Not to mention the Finns ♪

♪ Folks in Siam do it ♪

♪ Think of Siamese twins ♪

♪ Some Argentines without means,
do it ♪

♪ People say in Boston
even beans do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪

♪ Sponges, they say, do it ♪

♪ Oysters down in
Oyster Bay do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪

♪ Cold Cape Cod clams
against their wish do it ♪

♪ Even lazy jellyfish do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪

♪ Electric eels, I might add,
do it ♪

♪ Though it shocks them I know ♪

♪ Why ask if shad do it? ♪

♪ Waiter, bring me shad roe ♪

♪ In shallow shoals
English soles do it ♪

♪ Goldfish in the privacy
of bowls do it ♪

♪ Let's do it ♪

♪ Let's fall in love ♪