Original subtitles

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( train arriving )

nora: oh, wait till we're far away from them all.

we'll send a wire from the ship--

out on the dark sea in the middle of the night.

michael: i won't be going, nora.

michael, you'll get better where it's bright and warm.

i swear to you.

man: you can't be kept in anywhere, can you?

by jesus, i'll knock it out of you once and for all.

get your hands off me. you're not my da.

woman: nora, you're shaming us in front of everyone.

stop it, uncle tommy!

- don't hurt her. - you won't find it so easy to get out of that place!

- get up! get up! - get off me, da!

ma, don't let him!

( nora screaming )

( chatting )

woman: ...our father spent it all.

there's nothing left to pawn.

man: things can't be that bad.

how would you know? you never come home any more.

and i won't be coming home.

if anything, i'll be going further away.

it's true then what stannie says.

you're thinking of leaving ireland.

stannie even knows what i'm thinking, does he?

take me with you if you go, will you?

i'm going nowhere.

you had everything, jim.

any other brother would help his family.

i have to go, eva.

. i'll call up to the house later

i'd say you're not from here.

are you up for a visit?

i could show you around dublin.

sorry, fella, i have to work.

you're from galway.

where would you say i'm from?

i don't know.

- sweden. - sweden?

you're like a swedish sailor

s. with your blue eye

they're very short-sighted.

are? - no, my eyes.ish sailors

. oh, i'd say they see all they want to see

so i can't show you the city?

i'm well able to show myself the city.

tonight? i could meet you.

. i'm busy. i work in finn's

- tomorrow? - working then, too.

right.

wednesday, i can do a swap.

yes. all right. about half 8:00.

yeah. where? - i'll collect you.

the corner of merrion square. do you know it?

e. the canal? there's a seat near the bridg

good. grand. i'll see you there.

oh, my name's james joyce.

! hey, james joyce

e? don't you want to know my nam

- nora barnacle. -nora...

good. like ibsen.

what? what's ibsen?

i'll see yesday, nora.

where do you think you're going?

oh, it's all right. i swapped with ellen.

did you now? you can go bac k to work

and tell ellen to take her evening off.

- why? -you seem to think

you can come and g o as you please.

now go and do your work!

but i don't see why i can't do ellen's shift.

sometimes, i find that this sort of work

just doesn't suit certain kinds of girls.

"all i want, all i want," says he,

"is time and space to write about

the people who betrayed me

and who sent me into exile

in my own land."

will you pay me and go? i have to lock up.

your turn, i think, cosgrave.

come on.

it's always me who's caught.

come on, cosgrave. we have whoring to do.

i'm much too nice for this lot, aren't i?

yeah, sure you are.

hold out t little hand of yours,

please.

( coins jingle )

stop messing, will you?

man: joyce.

just in time.

were you looki ng for us?

i don't r you, gogarty.

i can smell you out.

we're going round to mrs. mack's. are you coming?

no money.

. ah, come on. sure, i'll stand you

- well, in that case, third man vomits )

you're a true son of erin,

and it would be treacherous of me to let you down.

hope he's not too annoyed.

james: "i waited for hours, but i could not see you.

perhaps i'm too short-sighted.

it's probably foolish of me to write to you now,

but i hope you remember me."

miss barnacle.

mr. joyce.

( both panting )

( moans )

oh, touch me. touch me.

( moans )

( laughing )

do you have a hanky, mr. joyce?

( laughs )

( door closing )

( men talking )

- i'd better go in. - no, not yet.

you're not frightened of them, are you?

no.

miss barnacle, this is mr. cosgrave,

mr. gogarty and my younger brother, stannie.

we've met.

enjoy your night off , miss barnacle?

having an early night yourselves, gentlemen?

i'll say one thing for the bard, anyhow,

he's not a snob, is he?

you think i don't respect you after what happened tonight.

believe me,

sacred for me.

you don't understand m e, but you will.

it's because we've only just met.

what does this mean when people

put their mouths together like this?

why?

why what?

why is it all right for you to touch me

and i can't touch you?

because i'm better at it than you are.

i love you, jim.

you say that,

but i need more than your embraces.

i want to know who you are.

will you write to me?

i want to know your secret thoughts.

i have no secret thoughts.

nora: "my dearest,

the terrible sadness which overwhelms me

each time we say farewell

can only be driven away if i keep your face,

my love, clear in my mind's eye.

so it seems to me that you are always with me,

as i move here and there during the day.

surely none could surmise as i walk in the street

or work among those for whom i care so little,

that it is your memory locked in my heart,

and your voice that i hear calling my name

over and over.

sometimes i wake with eyes clouded with tears..."

cosgrave: "...realizing, alas, that you are not with me.

i must end here since this letter but reminds...

...but reminds me, how distant you are

and how sad i will be until we meet again.

your loving girl, nora."

she misses you, loves you. what's wrong with that?

but what do you think of it-- the style?

cosgrave: the style?

for god's sake, she copied it out of a book.

what makes you say that?

because i know the girl we're dealing with.

jesus, you're an awful bollocks, cosgrave. do you know that?

woman: the nation saw our mother shamed.

the nation saw our heads bent low,

nor knew that in our hearts untamed

fire still unquenchable could glow.

mr. joyce, you're on next.

russell, can i ask why i haven't been paid

for the stories i sent you?

actually, some of them were quite good, i thought.

but, frankly, there have been some complaints.

not suitable material for the irish homestead.

we won't be publishing any more.

but it was you who approached me.

please, mr. joyce, this is inappropriate.

come on now, before things get any worse.

woman: ...our mother stil l is young and fair.

( audience applauds )

( piano playing )

?? she sings the wild songs ??

?? of her dear native plains ??

?? every note which he loved awa-- ??

?? --king ??

?? ah, little they think ??

?? ?? who delight in her strains

?? how the heart of the minstrel ??

?? is breaking. ??

( soft chattering; piano playing in background )

( man singing ) ?? as she onward sped sure i scratched me head ??

?? and i looked with a feeling rare ??

?? and i said, says i to a passerby ??

?? who's the maid with the nut brown hair? ??

?? he smiled at me, and he says to me ??

?? that's the gem of ireland's crown ??

? ?? young rosie mccann, from the banks of the bann ?

?? she's the star of the county down ??

?? from bantry bay up to derry quay... ??

you were wonderful. they're all talking about you.

good. and what about you?

you did well, too, i saw.

what?

are you fixed up with cosgrave now?

what?

on the nights when you're not with me.

i was watching the way you are with him.

but you asked cosgrave to escort me here.

you said it wouldn't be right for me to be all alone.

i forgot how quickly you get to know a strange man.

of course i talk to strangers.

i work in a hotel.

what was i supposed to do when you came up to me?

go, "oh, no, you might be a stranger"?

you want me to talk to no one but yourself.

you can go off with your friends--

my friends say you copied that letter out of a book,

that there's nothing sincere in it at all.

you showed them?

( audience applauding )

you showed the m my letter?

hear that? they love me.

can't get enough of me.

i laid myself bare

because i thought you understood.

and i thought you also--

but now i can see you haven't a clue who i am.

and you think you can insult me

with some petty words stolen from a woman's penny novel.

no, i-- don't know what you are saying.

i wrote what i feel.

i love you.

t i can't help it if i can't say i

different to other people.

have to use the same words as other people.

( chattering )

he does have a great voice, doesn't he?

i wonder where he is. why, there he is now.

get off!

stannie, who's that talking to jim?

stannie: she's a maid at finn's hotel.

l. i am sick of it al

us that's why i thought what happened between

was at least something like love.

it never occurred to me that you despised me--

- i don't. - that for you i was just another fella.

and if it made me happy for you to "pull me off"

then fair enough.

but i wasn't to get close to you, no.

that was right out.

and that's it all over, isn't it?

y. that's this countr

. there's nothing natural about it

nothing free and open.

people paralyz ed by fear.

. frightened of themselves , frightened of the church

that's why you won't let me inside you,

i can see that now.

but i thought that night--

that night when you took hold of me

and you laughed, i thought, jesus,

we can be natural together.

we needn't grow old and die without having touched

- each other to the heart. - jim, stop all this.

and what do you see when you see me?

- i see you! - who?

a nice, intelligent, bookish young man

with a pleasant voice? someone you can marry

and have happy sunday evenings round the piano

with your family and friends?

do you know what i do

on the nights when i'm not with you?

i go to whores--

to cleanse mysel f of the squalor and pretense

that passes for normal life in this country.

yes. this thing you think so hol y and precious.

any night i had the money,

i paid to fuck on a grimy bed,

stiff with the sli me hose that had gone before me.

- i don't believe you. - why don't you?

because, when i met you you knew nothing about women.

whereas you clearly knew everything about men.

gogarty: hey, joyce, need any help there?

it's nearly closing time.

hold on!

don't you see?

it's only fair you know what i'm like

and what i'm gonna be like.

? gogarty: are you coming, or not

do you want me to walk you back?

all right.

( door shuts )

( mooing )

go on.

go on.

get out. go on.

why are you so frightened?

sure they wouldn't touch you.

i'm not frightened.

yes, you are.

poor, simpleminded jim.

i hate things with horns.

now you have horns.

( nora laughs )

touch me. i'm lonely here.

what's the matter?

my mother. after she died

she appeared to me like that.

there's so many people out to get us.

if i stay here they'll kill me.

jim...

take me with you when you go.

there's nothing for me in dublin without you.

i think you're mad to go with him, do you know that?

i know.

i'm mad to go with him.

( chuckles )

and what'll you do when he dumps you

in some awful foreign place

where you can't talk the language

and you've no money

and it's freezing cold?

can i borrow your coat?

james: stannie. stannie!

now...

l. i didn't get it al

just so long as it's enough to get us out of here.

- yeats, he gave a few shillings-

said you didn' t pay him back the last time.

bastards!

i got the boot s though.

jesus.

you would never think it'd take so long

to get anywhere, would you?

i keep thinking there by now.

( laughing )

when they find out i'm gone.

you don't re what you've done, do you?

you're not taking this seriously at all.

but this is my second time running away.

and i'm not on my own this time.

i am so tired.

can we get something to eat?

we haven't a penny till i get an advanc e from the berlitz.

just let me find the school,

get us a room and then we can eat and sleep.

i don't mind carrying the luggage.

i'll carry it myself.

i just don't want to be left alone.

please.

nora...

the berlitz people, they don't know i'm with someone.

they think i'm alone . you know, single.

. it was simpler that wa y, to get the job, i mean

i'll only be an hour.

you can do what you like.

i don't care.

it was the only way to be sure of gettin g the job.

oh, suit yourself.

signorina!

( kissing )

signorina.

nora?

nora!

nora!

there you are. hiding.

i don't give a tinker's curse what happened to you.

, well, you weren't left like an unclaimed parcel

left for anyone to poke at and jeer at.

no, i'm sorry, but honestly--

do you know something?

i sat here today and i realized

that i need you for everything.

i need you for everything, too.

that goes into my mouth

hing i want to say goes through you or i don't speak.

you know i would never leave you.

nothing but trains and parks

and waiting and hiding.

i thought we were going away to be clear of all that.

to be free, you said.

but all it is is one hole after another.

and what's next, jim?

nothing. we're here.

no, i want to go home.

nora, it's beautiful. wait till you see.

h. no, i've had enoug

i just want to go home.

the one in finn's hotel, or the one in galway?

come on.

fuck up. fuck up, love.

( james speaks italian )

( crowd murmuring )

i like them all.

each story is so little??

and yet every moment stays.

i feel i have been for a long holiday in dublin

no, not a holiday.

a nightmar e, perhaps?

you cannot hide your love though you try hard-- yes.

where is it?

my favorite-- this one.

- "araby"? -yes, of course.

the boy is so in need.

he wants to buy this girl, mangan's sister,

something exotic at the bazaar.

something extraordinary

so he will deserve her.

he is so hungry for her.

beautiful.

but, you know, joyce, sometimes you--

oh, i pose a lot., but never in my work.

really why must the boy fail?

he reaches araby too late.

it is dark

and dreary.

the hero weeps bitter tears

and curses what he calls "his vanity."

reality.

but you know, in life it is not always so tragic.

sometime love can discover a treasure

as strange and beautiful as this boy wants to find in araby.

and it's real.

nora.

wouldn't you say she is real?

( laughs )

( speaking in italian )

jim, is that the ibsen you know?

how do you like triest e, signora joyce.

nora: i'm not mad about it, to tell you the truth.

at home,

at this stage everybody'd be up dancing.

everyone here looks like stray dogs on the run from something.

oh, i didn't mean you.

but it's true, you know?

alessandro and i, we are runaways.

we eloped together.

but that's like me and jim,

- but we're not married. -that's fine.

everyone does things their own way.

- andiamo? - andiamo.

i'm sorry, nora, we are going.

but come and see me at home.

you must tell me about ireland.

buona notte.

er will not come ou t tomorrow.newspap

another time.

signora joyce.

( james plucking guitar )

?? oh! if you be ??

?? the lass of aughrim ??

?? as i suppose you to be ??

?? come give me ??

?? the last token ??

?? between you and me ??

?? oh, gregory, don't you remember ??

?? ?? that night on the hill

?? ?? where we swapped rings

? ?? off each other's hands? ?

?? ?? surely against my will

?? mine was of the beaten gold ??

?? yours but block tin ??

?? yes, mine was of the beaten gold ??

?? yours but block tin. ??

( sobbing )

an irish ending to the evening.

here.

this'll make you feel better.

man: one would have to say, joyce,

you should get out of this situation while you can.

by making her even more unhappy than she is now.

did you find her?

no. fuck off, eyers. this is all your fault.

( thunder rumbling )

( panting )

( footsteps running )

- feel it. - no.

it's nothing. it's only a bit of wet.

no!

( laughs )

if someone hurt you

and i was there

i'd hurt them back so bad.

) ( both moaning; panting

( both laughing )

( nora retches )

this george moore doesn't know how to end a story.

the landlady thinks you're pregnant.

what?

the cheek of her.

why didn't she say it to my face?

- she wants us out. -the old bitch.

what'll we do?

i don't know.

find somewhere else, i suppose.

are you pregnant?

i don't know.

i thought you had a period last month.

maybe you should write to your mother.

- what for? - for help.

i don't need her help.

be all right, won't it?

might not be.

might just be the food.

can't keep it down.

we just hired it. come on down and give us a hand.

( speaking in italian )

( nora playing piano beautifully )

?? with an independent air ??

?? you can hear the girls declare ??

?? he must be a millionaire ??

?? you can hear them sigh and wish to die ??

?? you see them wink the other eye ??

? ?? at the man who broke the bank at monte carlo. ?

( clapping )

( crickets chirping )

ssandro? ( crickets chirping )ale

) ( baby crying

- i am so sorry, - that's all right.

and i'm after waking the baby up as well.

i would go myself only for the shape i'm in.

. i'll go and find him

( crying continues )

this will be you soon.

sometimes men get frightened

when their wives are pregnant.

wait till baby comes. you'll be happy then.

? how can i be happy when he's a stranger to me

when i don't understand

half of what he says to me sometimes?

i feel you should write to your mother.

for what?

tell her i crossed half the world

s? to end up with a m an no better than her

you needn't end up with me.

you've complete freedom to come and go as you please.

freedom?

to do what?

to go where?

i've given way to you more than i ever have to anyone.

do you not realize that?

are you joking me?

if you're not out getting drunk,

and if i was to dr op dead iou

e. you wouldn't notic

i notice everything.

every little move, every little gesture. every word.

i could prove it to you if you'd bother to read it.

do you not remember what you said to me the other day

when i threw away a story and started again?

you asked me, "will all that paper be wasted?"

"i'm lying near you

to tell my tale

of friendship and sorrow,

hope and betrayal.

for how can i trust what friends will do?

s all promises, ashe

and words untrue.

but there is still one

who softly moves to woo and win me,

and softly loves.

my hand is near now.

i touch her breast.

farewell to my sorrow,

i may rest."

i've been thinking, joyce.

would you like to write the opera review

for my newspaper?

most certainly.

would i be paid?

of course, but only tickets.

( laughing )

signor joyce! ( speaks in italian )

auguri, signor joyce!

( speaks in italian )

who's he like?

his eyes are dark.

signor joyce.

the eyes will change color.

nora: poor little thing.

he's only born.

hasn't had a chance to look like anyone yet.

oh jesus.

( train chugging )

( women talking )

james: stannie. stannie!

jim.

nora: stannie.

you look so different.

i'd have passed you in the street

and not recognized you.

so do you. i mean--

this is giorgio.

he makes strange with men he doesn't know.

- how's the journey? - fine. fine.

have you anything left from the money i sent?

no, hardly any.

you told me to buy this suit for the berlitz.

and then, things are so tight at home

i had to leave some money for the girls.

then there was a matter of some...

really, i have 40 crowns.

- fine brother you have! gio crying )

welcome to trieste.

is she all right?

as you can see i didn't leave her

in the streets like they said i would.

james: come on.

look, jim, we're here, so shut up.

( cart squeaking )

( drunkenly ) going to wake up everyone.

nora.

giorgio. george the first.

and if i don't watch out

my wife will give me

george the second.

she may not know much,

n. but she does know how to produce childre

( james laughing )

he can stay down there with you, stannie.

i'm not having that sleeping next to me.

hello, nora!

do you know something, stannie?

that nora there--

she can't spell or punctuate

or even use a capital letter,

but she can produce children.

you're amazing. you're amazing, nora!

i notice these things. no one else would.

( baby cooing )

. be a long time waiting for his father to feed him

your lunch is there for you, on the stove.

what would you be doing now if yoweren't here

saving your brothe r from drink?

nora...

jim is a genius.

but he's different to other men.

i would see it as my job to...

ease certain obstacles

so that the work can be done.

that's not much of a life.

but it would be a terrible shame,

if jim were not to become everything he were meant to become.

( laughing )

i see.

poor stannie.

all the way to trieste to escape

and now you're the prisoner of two families

instead of one.

f. all you need now is to get married yoursel

( faucet running )

all right, jim.

you're half blind from that shite already.

would of the work?

oh, god forbid i should go blind before i pay you back.

t i just heard today that "dubliners" will not come ou

unless i pay for it.

why?

they said that "dubliners" is a book about ireland

and books about ireland do not sell.

there's only one way out of this mess.

you'll have to go to ireland and see the publisher.

what?

take giorgio to see his grandfather.

i can't go back.

i can't go back. i won't get back here.

anyway, there's my classes to consider.

we need that money.

let's go home, let's go home now.

let's go home.

stannie: jim, stop it! stop it!

come on, would you?!

get off! get off of me!

look at you!

what do you think of them? a waste?

( projector clicking )

( piano and violin playing sad music )

do you mind if i sit with you?

of course not.

should we eat? there's nothing at home.

i've already eaten, but you go ahead.

i'm not hungry.

cinema was good today. it was a sad story.

they're all sad stories. i don't know why you bother going.

it fills the time. i can't always be sitting in that room.

the film reminded me of someone i knew.

who?

young fella in galway.

someone you were in love with?

yeah, i suppose i was.

we were only young-like.

i used to sneak out at night to meet him.

we had to hide from my uncle, you see?

and the time they were sending me to a convent,

he stood outside

begging for me to come down, but i couldn't.

and then he died, and no one told me until after the funeral

because it was that night he took bad.

so he died for love of you?

yeah, he did.

why did you not tell me?

all those stories of galway, you never said a word.

it all seemed so far away.

( sobbing )

but seeing that film,

it reminded me

as well as well.

i should go.

see if giorgio's all right.

-i'll come with you. - no, please don't.

i'll see you later.

there we go.

g? where are you goin

see you later, stannie.

yes. see you later.

where are you going, you funny, little lad?

you'll fall off the bed.

you'll fall off the bed.

jim, nora.

i'm going to move out

so you can have this place to yourselves again.

- don't be silly. -i've the mind made up.

it's not working out with all of us

u let's talk about it later. i just wanted to inform yo

of my decision.

giorgio, where'd you get those papers?

( giorgio cooing )

? oh, giorgio, what have you done

he'll go mad.

is that another new hat?

i haven't paid for the last one yet.

they say that living well is the best revenge.

there must be half a month's salary here, at least.

oh, there's a lot more than that.

we're staying here tonight as well.

the landlady won't let us back until we pay the rent.

now there's a coincidence.

i just gave my notice in at the school today.

stannie'll advance us some cash.

. it'll be all right

is it my turn again for bad news?

- you mean there's more? - well, i think so.

( papers rustling )

- jesus! -giorgio got hold of those.

are they all here? what did he do? i'll kill him.

a bit torn, that's all.

- read it. -what?

that new story. you call it "the dead."

i read it.

did you think it was good?

nora: well, stranger.

stannie: hello, nora. is this lucia?

come on.

come up and say hello

to your uncle stannie.

well, now--

she's a bright one, isn't she?

oh, stop. she would mind mice at the crossroads.

up and see our latest palace, will you?

no, nora, i can't.

ah, do.

i've missed you.

lucia.

he's in dublin with giorgio.

yes, eva wrote to me.

jim has a bit of a nerve, really,

going to dublin to open a cinema.

yes.

i was always the one for going to the films.

do you think it'll take off in dublin?

i doubt it.

lucia...

isn't it great to see your uncle stannie?

yes.

you have a lot of space.

that's because the landlord at our last place

held on to all the furniture.

the usual story.

have a look around.

oh, no, no, no. it's great.

is something wrong?

"nora, i am staying in dubliorgie.

" everyone here is laughing.

read it out.

read out the part where he asks

is giorgio really his son.

read out where he asks who else fucked me before he did.

( nora grabs letter )

"did you slide your hand inside his trousers

as you did with me?

you walk along the river did

- or go down the alley to kiss?" - stop!

no, he said he heard it from his own mouth!

people in dublin are laughing at him

for taking on a girl that many men have enjoyed.

nice...

isn't it?

it's your brother, the great writer.

i don't know. he's gone mad.

mad.

it's cosgrave...

and that shower of poisonous bastards.

well, he's back where he belongs,

in the land of the betrayers.

now you're just going to have to write to him

and tell him it's not-- it's not true, right?

hmm?

jesus, nora, listen to me here.

yoow jim.

you know that he finds rejection everywhere he goes.

and where he cannot find it,

he invents it.

so, i know that this anger isn't right.

jesus, nora, if you don't respond--

if you don't deny it--

he believed cosgrave.

he didn't believe me.

hello, lucia.

what are you doing out here?

where's mommy?

she's in here.

what are you doing?

i'm cleaning the room out. you're not well.

no!

i want it to stay exactly as it is.

( closes window )

i'm just gonna have to write to him now, huh?

go away!

curran: do you remember years ago

i asked you,

? did you love her

and you said...

yours was the mind through which she must think...

and yours was the body

she was so easy that first time. i should have known.

but, jim,

nora gave up everything she knew

and went halfway across europe

to be with yo

thing you ever did.

how do you mean?

you got away from dublin.

. you found love without asking their permission

ty don't you remember how cosgrave and gogar

? tried to undermine you

how they lied about no ra just to keep you

exactly where they wanted you?

-excuse me? - yes, sir?

do you live in the attic room?

i beg your pardon, sir?

my wife used to be a maid here.

i wondered if i could have a look at where she slept.

is your wife dead, sir?

what?

what did you say?

i'll have to g o down now, sir.

you just let yourself out whenever you're ready.

( door opens; footsteps )

that's another letter from jim.

i don't want to read any more of his shite.

you open it.

i don't want to read it.

it can't be worse than what you've seen already.

( makes trotting sound )

now horsey has to go away.

but look what he left behind.

now...

you'll eat a little bit, will you?

( nora screams )

he says it's all lies.

he's says cosgrave made it all up.

oh, stannie!

i'll write to him now.

i'll tell him how kind you've been to me

few weeks. i'll tell him how kind you've been to mee past

come stai, lucia?

nora's voice: "you haven't written for days.

is it because i was silent before? to punish me?

god knows who you'll go with in dublin,

the state you're in.

you send me cocoa and ask me,

have you been cruel to me?

you know you have, jim.

so cruel that i have wept and wept

and lay in our bed not knowing what i will do."

james' voice: all i think of is you, my darling, nora.

there is a letter i want to write

or maybe want you to write

but i dare not ask.

i want to come to you now,

to find you asleep, to breathe in your smell,

to say those words we say when we're alone.

write those words to me, nora, dearest.

be shameless, disgusting.

i long to see you--

your eyes blazing at me when we're alone again."

nora's voice: "oh, jim, i am wearing no underclothes today.

i found a pair with a stain and wanted to send them to you

because i knew it would excite you,

like it excites you when i say a certain word

you want me to write over and over.

do you pull yourself off when i write it?

i want to fuck you so badly.

do you remember that night we did it all night backwards?

when you fucked me all night long?"

( nora panting )

james: "i want you to punish me again and again.

save me from james: "i want you to what i want, nora.ain.

hold my words

and read them over and over.

let me tell you everything, my dirty girl.

i want to creep inside your drawers

and lick you and lick you faster and faster

until you twist and scream.

faster until my tongue is wet with your juice.

i want to get inside you--

to climb up into your womb forever.

to be you, and know your feelings and know your pain."

( shudders )

( door opens )

go away.

( sighs )

jamesie...

let me up out of this poo.

( kaleidoscope music playing )

( audience laughing )

mr. joyce.

the writing' room for the stamp.

jim's coming home.

how come?

well, i sent him this wedding invitation,

but it didn't work.

and then i threatened to hav e lucia baptized, so i did.

he'll be home inside a week.

i always knew i'd best him at this writing game.

?? james: ?? with tears in my heart

?? tears beyond all controlling ??

?? i awakeber an exile am i ??

?? and i pray ??

?? thobetween us ??

?? the wide seas are rolling ??

?? to come home to thee ??

?? if 'tis only to die ??

en isle of erin ??

?? ?? that waits for me yonder

-?? tho' fate may decree ? - ( children laughing )

?? 'tis forever we part ??

?? ?? still exiled and lonely

?? ?? where 'er i may wander

?? ?? the green isle of erin

?? remains in my heart ??

?? ?? the green isle of erin

?? remains in... ??

?? my heart. ??

( clapping )

- grazie. - bravo.

bravo! bravo!

happy st. patrick's day.

have you heard anything from home?

s. oh, begging letter

they're all mad jealous i'm here instead of them.

they won't be so mad jealous

when they find out what you've let yourself in for.

i don't know why you're so miserable.

i think nora and jim are really happy.

mmm.

eva, i thought you'd never get here.

-stannie! - nora.

great to see you.

could you send jim out to me, please?

ah, will you come in?

no, i'd just lik e a word with jim.

would you give it a rest for today at least?

will you send him out to me, please, eva?

no-- she's going to help me serve the food.

so either come in and join us,

or else stand there with one arm as long as the other.

honest to god it never stops.

it's no wonder that fella doesn't get invited anymore.

- jim. - stannie.

happy st. patrick's day.

who's here so far?

. tullio sylvestri

your man who wants to paint you?

. mmm-hmm. and roberto prezioso

excuse me.

without his wife as usual.

. as long as he doesn't invite us to their house

afraid she might have to shake hands with me , the bitch.

- nora! - james:i've got mouths to feed.

( whispering ) i don't even care.

you could swing gate s off her legs.

it's not as if i don't know what he's spending the money on.

stannie, if you feel that way about pappie,

then stop sending him money.

- but i have to. - then don't come complaining.

- it's your problem, too. - what problem?

- james:i love our father. - bit of cake, signor prezioso.

thank you, very much.

m. oh, don't mind the

n. they're a pair of spoiled childre

signora joyce,

the sun shines for you today.

( soft chuckle )

- wine? - yes, please.

we've told each other so much, nora, haven't we?

things we couldn't have told another living soul.

and now we're bound together

tighter than any marriage vows.

but i think you owe me compensation

for all the things you made me feel.

all that pain.

all that jealousy.

it was you who used the first words.

it was you who touched me first in the dark.

everything we did you began.

i think it's only fair.

something in return, so we're equal.

what?

tell me how they touched you.

did he put his hands inside you? did he make you come?

. - no. - no secrets, body or soul

i've been open with you.

i want to know your every thought.

did he put his hands inside you?

how did he touch you?

( both panting )

are you going to mass?

yes.

say one for me.

come here.

why should i...

when i have...

any amount of lovers queueing up for me?

i want you to choose me.

what are you doing here?

i brought an admirer to see you.

- signora joyce. - signor prezioso.

nora: well, isn't it well for some?

have you nothing better to do

than stand round here looking at me?

i thought you'd be delighted.

you'll distract signor sylvestri.

oh, please, i am so sorry.

are we upsetting your concentration?

do you ever think of him kissing you?

who?

prezioso.

do you imagine it?

it's all right, you can tell me.

no.

never.

do you think you would enjoy it?

jim...

please.

( door shuts )

here again, prezioso?

you can't seem to stay away.

it's such a privilege for me.

oh, and for me, roberto.

i know so little about painting,

coming as i do from an oral tradition.

and it suits him, signor prezioso.

it's so much easier to lie with words than pictures.

i think you might be right.

. i think you two should meet and talk more often

you should call next week, prezioso.

i'm sending eva and the children

on a little holiday in the country.

my wife'll have plenty of free time then.

well, i would like to, of course, yes.

i knew nothing about a holiday in the country.

it's a treat for the and a br eak for you.

no, i don't want them to go.

it's just a holiday.

a chance for giorg io to see a cow.

no.

where are they?

. they're in the carriage already

i'll make them come up and say goodbye.

no, leave them.

don't think i don't know what you're up to.

what do you mean?

i want them back. i want giorgio here with me.

ah, stop it.

please, nora.

what is the matter with you, eva?

you know, you haven't stopped sniveling

since the day you arrived in the place.

r. that's not fai

you and jim haven' t stopped picking on each other.

go on home then.

d'you think i want you here, mooning round, spying on me?

i do not spy on you.

you write enough fucking letters.

they can't all be about the weather.

jim?

i'm doing this for you, remember?

y. look after them and have a nice da

. - james: avant i. - eva: bye-bye

- giorgio: arrivederci. - james: fate i bravi.

- signor joyce. - signor prezioso.

do you think it's serious?

what?

prezioso's infatuation with you.

- did anything happen? - no.

but he said things.

he said, "the sun shines for you today."

and what else did he say?

oh, jim, doesn't talk like this upset you?

no, why should it?

because of before.

because of the way you were before.

are you trying to make me go with him

so you can sit up all night writing about it?

read out bits to him the next day?

prezioso's my friend . he's interested in my writing.

now you tell me--

are there things about you and me

in those bits you read out?

would you care?

you hold yourself completely aloof from my work.

i need someone to talk to. i need some encouragement.

why do you think i don't read them?

i don't know. i just know you don't. maybe you can't be bothered.

doesn't it occur to you that i couldn't bear

to see my life twisted

and made strange to me that's living it?

please, it's exactly the other way around.

do you take me for a fool?

te to celebrate my life-- i wri

to celebrate my life with you.

then why do yo u steal my life

? and you make i t something else

don't you see, i can't stand these rows?!

you make me feel like nothing the way you talk!

happy now you've destroyed me totally?

jim...

i'm sorry.

thank you.

there are things in here i could never have written again.

nora...

you're my only love.

i want you to be happy.

tell me what it is you want.

i'll do anything you want.

you're free to do as you like.

i don't care what you do so long as you're honest and tell me.

did you fuck him?

- did you fuck him? - no.

jim.

did you fuck my wife?

did you fuck my wife? did you?

- joyce. - did you?

did you fuck her? did you fuck her?

- did you fuck her? - ( tullio speaks in italian )

( sobbing )

nothing happened.

that's the truth.

it doesn't matter what you say.

i'll never know.

will you call in to the publisher

on your way through dublin?

just to keep things moving.

very well...

if you think it'll do any good.

this is over now.

goodbye, lucia.

goodbye, giorgio.

look after your sister.

. lucia: arrivederci, babbo

( train whistle blows )

( steam hissing )

mr. roberts, my husband wanted to know

why you still haven't published his book.

it's very complicated.

i will write again to your husband in due course.

oh, mr. roberts, you can tell me. now.

they are not things one would discuss with a lady.

oh, you don't have to be afraid--

myself and my husban d have no secrets.

are you aware that one of the storiesy husban concerns...no secrets.

...a pervert?

yes. yes, of course.

there are also hidden meanings in these stories

that you, madam, may not be aware of.

for example, the most recent one, "the dead."

well, frankly, there's something dirty going on in that story,

if you ask me.

nanna, nanna!

nanna!

oh, my darlings!

oh. my darlings, my little loves, welcome.

welcome home.

it's great to see you, nora.

take my hand.

lucia.

what was the boat like?

did you have a good time on the train?

( seagulls calling )

a! papa! pap

lucia: babbo, babbo.

giorgio.

lucia.

. go play with your castle

( giorgio and lucia speaking italian )

giorgio, find your shoes . it's time to go home.

your mother told me where i'd find you.

they're looking very well.

( children laughing )

are you keeping well?

well enough.

pappie gave me a blow by blow account

of your meeting the publisher.

a bigger bollock s never put an arm through a coat.

no, i hear the printer smashed the type.

no.

no, it's true, nora.

"dubliners" will never be published here.

when i leave ireland, this time it's forever.

i'm never coming back.

everyone keeps asking when you're coming home.

everyone?

i keep seeing him standing there with tears on his face.

he thought that i was lonely and you didn't care.

i promise nothing will ever come between us again.

. i'm never going back

you can forget it.

sure, isn't great to have a bit of life round the place again?

annie: go on, nora, bring jim for a walk.

you haven't had a real chance to have

tommy: you know, despite all our rows,

nora and me always understood each other.

we knew how to have a good laugh.

( tommy laughs ) what do you say?

will you give us a song?

ah, go on, nora, one of the old ones.

no, i don't sing anymore.

? james: what are you gonna do, nora

do you really thin k you can live here?

ur power over me. all i wanted to do was to give you ba ck

to let you choose.

you did it for yourself.

the way you do everything.

e. that's not tru

there's not a day goes by when i don't ask myself

what happened to us.

( snoring )

( door opens; closes )

- goodbye, annie - come back soon.

god bless.

i don't actually know how we're gonna get back to trieste.

stannie was supposed to send us some money.

( both laughing )

annie: god bless.

good old stannie.

james: ?? well, if you be the lass of aughrim ??

?? as i suppose you to be ??

?? come give me ??

?? the last token ??

me ??

nora/james: ?? oh, gregory, ??

?? ?? that night on the hill

?? when we swapped rings??

?? off each other's hands? ? ?

?? surely against my will ??

?? mine was of the beaten gold ??

?? yours but block tin ??

?? yes, mine was of the beaten gold ??

?? yours but block tin ??

( guitar playing )

?? well, if yoss of au ghrim ??

?? as i suppose you to be ??

?? come give me ??

?? the last token ??

?? between you and me ??

?? oh, gregory, ??

?? don't you remember ??

?? that night on the hill ??

?? off each other's hands? ? ?

?? surely against my will ??

?? mine was of the beaten gold ??

?? yours but block tin ??

?? yes, mine was of the beaten gold ??

?? yours but block tin. ??

( chamber music plays to end )

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