All language subtitles for Nora.2000

-== [ www.OpenSubtitles.com ] ==-

( 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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